orr 
 
TREATISE 
 
 ON THE 
 
 DECORATIVE PART 
 
 OF 
 
 CIVIL ARCHITECTURE. 
 
 ILLUSTRATED BY 
 
 Fifty Original, and Three Additional PLATES, 
 
 Engraved by Old Rooker, Old Foudrinier, Charles Grignion, 
 
 and other eminent Hands. 
 
 By SIR WILLIAM CHAMBERS, K. P. S. 
 Surveyor General of His Majesty's Works ; Treafurer, and Member of the Royal Academy of 
 Arts in London ; alfo of thofe of Paris, and Florence. 
 
 FRS. FAS. FSSS. 
 
 The Third Edition, confiderably augmented. 
 
 LONDON; 
 
 PRINTED BY JOSEPH SMEETON, IN ST. MARTIN'S LANE, CHARING CROSS. 
 
 SOLD BY 
 
 T. Cadell, Bookfeller and Printer to the Royal Academy, Strand; I. and J. Taylor, Holborn; 
 J. Walter, Charing Crofs ; R. Robson, New Bond Street; and R. Sayer, Fleet Street. 
 
 M.DCC.XCI. 
 
T O 
 
 THE KING. 
 
 SIR, 
 
 T 
 
 -L HE prefent publication treats of an Art, often the amufement 
 of Your Majesty's leifure moments ; and which, in all ages, great princes have 
 delighted to encourage: as one, amongft thofe moft ufeful to their fubjecls; beft 
 calculated to difplay the power and fplendor of their government ; fitteft to convey- 
 to pofterity, the munificence, flail, and elegance, of the times in which they 
 flourifhed ; the memorable events and glorious deeds, in which they were engaged. 
 
 The indulgent reception afforded to the two former editions of this work, 
 induced me, not only to enlarge, and attempt improvements, in this third Edition ; 
 but likewife to folicit the honour of its appearance, under the aufpices of Your 
 Majesty's Patronage: and the condefcenfion with which that mark of Royal 
 approbation was granted, proves Your Majesty's defire to promote, even the 
 fmalleft advances, towards perfecting the Arts of Defign. 
 
 The inftitution of a Royal Academy ; an Exhibition, become fplendid under 
 Royal Patronage ; Englifh Productions of Art, contending for preeminence, with 
 thofe of the firft Schools on the Continent; are events, unexpected, as unhoped 
 for, till Your Majesty's Acceflion. 
 
 For 
 
DEDICATION. 
 
 For the benefits derived from thefe events, Artifts of all degrees look up 
 with reverence to the Throne : and fo powerful is the Example, fuch the Influence 
 of Royal Patronage; that the fame fpirit of encouragement, has rapidly been 
 diffufed, through all claffes of Your Majesty's Subjects ; even men of inferior rank 
 now afpire to Tafte in the fine arts; and by a liberality of Sentiment, formerly 
 unknown, excite the artifts to emulate and excel each other : circumftances not 
 only much to their own honour, but contributing greatly to augment the Splendor 
 of the Nation ; to improve its Tafte, and ftamp additional Value on its Manufactures ; 
 to extend its Commerce, and increafe the Profits arifing therefrom. 
 
 That Your Majesty may long Reign over happy nations, and continue 
 with equal ardour a Patronage, which already has produced fuch beneficial effects ; 
 is the earneft wifh of 
 
 Your Majesty's 
 
 Moft dutiful Subjea, 
 
 And ever faithful Servant, 
 
 WILLIAM CHAMBERS. 
 
PREFACE 
 
 AMONGST the various arts cultivated in foeiety, fome arc ufeful 
 only ; being adapted to fupply our natural wants, or affift our natural 
 infirmities ; others again, are inftraments of luxury merely ; and cal- 
 culated to flatter the pride, or gratify the defires of man : whilft others there are, 
 contrived to anfwer many purpoles ; tending at once to preferve, to fecure, to ac- 
 commodate, delight, and give confequencc to the human fpecies. 
 
 Architecture, the fubjeft of our prefenf enquiry, is of this latter kind; and 
 when viewed in its full extent, may truly be faid to have a very confiderable part, 
 in almoft every comfort, or luxury of life. The advantages derived from houfes only, 
 are great, they being the firft fteps towards civilization, and having certainly great 
 influence both on the body and mind. Secluded from each other, inhabitants of 
 woods, of caves, or wretched huts ; expofed to the inclement viciflitudes of feafons, 
 and the diftreffing uncertainty of weather ; men are generally indolent, dull and 
 abject, with faculties benumbed, and views limited to the gratification of their moft 
 preffing neceffities : but wherever focieties are formed, and commodious dwellings 
 are found ; in which, well fheltered, they may breath a temperate air, amid the 
 fummer's heat or winter's cold ; fleep, when nature calls, at eafe and in fecurity ; 
 ftudy unmolefted ; converfc, and tafte the fweets of focial enjoyments ; there they 
 are fpirited, active, ingenious and entcrprifing ; vigorous in body, fpeculative in 
 mind : agriculture and arts improve, they flourifh among them ; the ncccffarics, the 
 conveniencies, and foon even the luxuries of life, become there abundant. 
 
 Mere ftrength however, even the fteadieft perfevcrance, obtains with difficulty 
 the defired produce ; but inventions facilitate and fhorten labour, multiplying pro- 
 ductions fo, as not only to fupply domeftic wants, but likewife to treafure up ftores 
 for foreign markets. 
 
 Architecture then fmooths the way for commerce ; fhe forms commodious 
 roads through marfhes or other grounds naturally impracticable, fills up vallies, 
 unites, or levels mountains ; throws bridges over deep or rapid waters, turns afide 
 or deadens the fury of torrents ; confirufts canals of navigation, builds fhips, and 
 contrives ports for their fecure reception in the hour of danger : facilitating thus, 
 the intercourfe of nations, the conveyance of merchandize from people to people. 
 
 A well regulated commerce is ever the fource of wealth; and luxury has ever 
 been attendant on riches. As the powers of gratification increafe, fancy multiplies 
 wants ; till at length, indolence or pleafure, vanity and fuperftition, fears and re- 
 fentments, give birth to a thoufand fuperfluous, a thoufand artificial cravings ; the 
 greater part of which could not be gratified, without the alfiftance of architecture : 
 
 a for 
 
ii 
 
 PREFACE. 
 
 for fplcndid palaces, magnificent temples, coftly dwelling houfes, amphitheatres, 
 theatres, baths and porticos, triumphal arches and bridges, maufoleums, and an 
 endlefs number of fimilar inventions ; are all, either neceffary inftruments of eale 
 and pleafure ; or ftriking teftifhonics of wealth, of grandeur and pre-eminence, 
 either prefent or paft. 
 
 Nor are there any other objects, whether neceffary, or fuperfiuous, fo certainly 
 productive of their defign ; fo permanent in their effects, or beneficial in their con- 
 sequences : fine furniture, rich dreffes, brilliant equipages, numerous domeftics ; 
 are only fecondary attractions at firft ; they foon feel the effect: of time ; and their 
 value fluctuates, or dies, with the fafhion of the day. While the productions of archi- 
 tecture command general attention ; arc monuments lafting beyond the reach of 
 modes ; and record to lateft pofterity, the confequence, virtues, atchievements, and 
 munificence of thofe they commemorate. 
 
 The immediate and moft obvious advantages of building are, employing many 
 ingenious artificers, many induftrious workmen and labourers of various kinds ; 
 converting materials of little value into the moft ftately productions of human fkill ; 
 beautifying the face of countries ; multiplying the conveniencics and comforts of 
 life. 
 
 But thefe, however great, are not the moft confidcrable : that numerous train 
 of arts and manufactures, contrived to furnifh and adorn the works of architecture, 
 which occupies thoufands, and conftitutes many lucrative branches of commerce; 
 that certain concourfe of ftrangers, to every country celebrated for ftately ttructures j 
 who extend your fame, adopt your fafhions, give reputation, and create a demand 
 for your productions ; are confiderations of the higheft confequence : in fhort, the 
 advantages of building extend to the remoteft ages, and at this day, the ruins of 
 Ancient Rome, in a great meafure fupport the fplendor of the prefent; by the 
 number of travellers who flock from all nations, to vifit the ancient remains and 
 modern magnificence of that famous city ; and who, in the courfe of a few cen- 
 turies, have there expended incredible fums of money, by long refidence ; and in 
 the purchafe of old pictures, antique ftatues, bufts, bafrcliefs, urns, and other 
 curious productions of art : of which, by lome extraordinary good management, 
 there is a treafure never to be exhaufted : the wafte of four hundred years is icarcely 
 perceivable. 
 
 Nor is architecture lefs ufeful in defending, than profperous in adorning and 
 enriching countries : fhe guards their coafts with fhips of war, fecures their boun- 
 daries, fortifies their cities, and by a variety of artful conftructions, controls the 
 ambition, and fruftrates the attempts of foreign powers ; curbs the infolence, and 
 averts the danger, the horror of internal commotions. 
 
 Thus architecture, by fupplying men with commodious habitations ; procures 
 that health of body and vigor of mind, which facilitate the invention of arts : and 
 when by the exertion of their fkill or induftry, productions multiply beyond do- 
 mcftic wants ; fhe furnifhes the means of tranfporting them to other markets : and 
 whenever by commerce they acquire wealth, fire points the way to employ their 
 riches rationally, nobly, benevolently; in methods honorable and ufeful to them- 
 
 felves 
 
PREFACE. iii 
 
 felves and their defendants ; which add fplendor to the ftate, and yield benefit 
 both to their cotemporaries and to pofterity : fhe farther teaches them to defend 
 their poffefllons ; to fecure their liberty and lives, from the attempts of lawlefs vio- 
 lence, or unreftrained ambition. 
 
 An art fo varioufly conducive to the happinefs of man, to the wealth, luftre 
 and fafety of nations ; naturally commands prote&ion and encouragement : in efFeft, 
 it appears, that in all civilized times, and well regulated governments, it has been 
 much attended to, and promoted with unremitting affiduity ; and the perfeftiomng 
 of other arts, has ever been a certain confequence : for where building is encou- 
 raged ; painting, fculpture, and all the inferior branches of decorative workman- 
 fhip, mult flourtfh of courfe ; and thefe, have ah influence on manufa&ures, even 
 to the minuteft mechanic produdions ; for defign is of univerfal benefit, and ftamps 
 additional value on the moft trifling performances, the importance of which, to a 
 commercial people, is obvious ; it requires no illuftration. 
 
 Let it not however be imagined, that building, merely confidered as heaping 
 ftone upon hone, can be of great confequence; or reflect honor, either on nations 
 or individuals: materials in architeaure, are like words in phrafeology ; having 
 feparately but little power ; and they may be fo arranged, as to excite ridicule ; dif- 
 gufl, or even contempt; yet when combined with fkill, expreflcd with energy, they 
 actuate the mind with unbounded fway. An able writer can move even in ruftic 
 language, and the maftcrly difpofitions of a fkilful artifl, will dignify the meaneft 
 materials'; while the weak efforts of the ignorant, render the moft coftly enrich- 
 ments defpicable. To fuch, the compliment of Apelles may juftly be applied ; who, 
 on feeino- the piaure of a Venus magnificently attired, faid to the operator ; Friend ; 
 though thou haft not been able to make her fair, thou haft certainly made her 
 fine. 
 
 Hitherto architeaure has been confidered in a general light; under its differ- 
 ent divilions of naval, military, and civil. I purpole however in the prcfent work, 
 to confine myfelf to the laft of thefe branches, as being of more general ufe, and 
 that, to which my own ftudy and praaice have been more immediately direacd. 
 
 It is not to be fuppofed, that fo difficult an art as architeaure, after having 
 lain many centuries abforbed in the general cloud of barbarifm, lhould at once, 
 emero-e in full perfeftion; or that the firft reftorers of the ancient manner of 
 building, could at once, bring it to a degree of purity, incapable of farther im- 
 provement. With very little affiftance from books upon the fubjeft, and that, 
 often obfeure, unintelligible, or erroneous ; while they were labouring to feparate 
 beauty from deformity ; endeavouring to reftore to light, what length of time, 
 cafualties, war and violence, had been a aive to deface ; to amhilate ; we muft nei- 
 ther cenfure with feverity their omiflions, nor wonder at their miftakes ; yet with 
 all due reverence for the memory of thofe illuftrious artifts, it may be remarked, 
 that they left much undone ; and taught many errors. Their mealures and defigns 
 were, generally fpeaking, incorrea ; their plates ill engraved; and the want of me- 
 thod, and of precifion in treating their fubjea, renders the ftudy of it m their 
 works, exceedingly difcouraging. 
 
 b 
 
 [t 
 
tv 
 
 PREFACE, 
 
 It is indeed true, that later writers have, in a great meafure, fupplied their 
 omiffions, and rectified their faults : few fubjefts have been more amply treated of 
 than architecture ; nor any, by perfons better qualified ; infomuch, that little re- 
 mains cither to be difcovercd, or improved ; every branch of the art having been 
 maturely confidered, and brought very near the utmoft degree of certainty of which 
 it is capable. 
 
 Yet one thing of great ufe remained to be done ; at leaft, in our language ; 
 which was, to collect in one volume, what lay difperfed in many hundreds, much 
 the greater part of them written in foreign languages : and to felect, from mountains 
 of promifcuous materials, a feries of found precepts, and perfect, defigns. 
 
 Whoever has applied to the ftudy of architecture, will readily grant that there 
 are few purfuits more perplexing : the vague foundation on which the more refined 
 parts of the art arc built, has given rife to fuch a multiplicity of jarring opinions, 
 all fupported by, at leaft, plaufiblc arguments ; that it is exceedingly difficult to 
 difcriminate, or diftinguilh what is real, from that which is merely fpecious : the 
 connexions which conftitute truth or fallacy, being often far diftant, beyond the 
 fight of fuperficial obfervers. Whence, the merit of performances is too often mca- 
 fured by the fame of the performer; by the tafte of the age in which they were 
 produced; by vulgar report; party opinion; or fome other flandard equally in- 
 adequate : and not feldom by precepts delivered fome centuries ago, calculated for 
 other climates, other men, and other cuftoms. 
 
 To obviate thefc inconveniencies, the author ventured, foon after his return 
 from Italy, upwards of thirty years ago, to attempt fuch a compilation as is above 
 mentioned ; by a publication of the firft edition of the prcl'cnt work. He flattered 
 himfelf, that if well conducted ; it would greatly fhorten the labours of the ftudent, 
 and lead him to truth, by eafy and more inviting paths ; that it might render the 
 ftudy of architecture, and its attendant arts, more frequent ; ferve to promote true 
 tafte, and to diffulc the love of Vertu, among perfons of high rank, and large for- 
 tune ; the fit encouragers of elegance. 
 
 His defign was, without biafs from national, or other prejudices ; candidly to ' 
 confider what had been produced upon the fubject : and to collect from the works 
 or writings of others, or from his own obfervations, in all parts of Europe, famed for 
 tafte; fuch particulars, as fcemed moft interetting; or propereft to give a juft idea 
 of fo very ufeful, and truly noble an art. 
 
 Sensible that all ages had produced bad, or indifferent artifts; and that all 
 men, however excellent, mull fometimes have erred ; it was his intention, neither 
 to be influenced by particular times, nor by the general reputation of particular per- 
 fons : where reafon or demonftration could be ufed, he purpofed to employ them ; 
 and where they could not, to fubftitutc in their places, generally admitted opi- 
 nions. Abftrufe or fruitlefs arguments he wifhed carefully to avoid ; nor was it his 
 intention to perplex the unlkilful, with a number, of indifcriminate examples: 
 having judged it much more eligible to offer a few; calculated to ferve at once as 
 ftandards for imitation, or guides to judge by, in limilar produdions. Precilion, 
 
 perlpicuity 
 
PREFACE. 
 
 V 
 
 perfpicuity and brevity, were to be attempted in the ftyle; and in the defigns, 
 fimplicity, order, character, and beauty of form. 
 
 The difficulty and extent of fuch a talk, undertaken early in life, rendered 
 fuccefs very uncertain ; and filled the writer's mind with many apprehenfions : but 
 the indulgent encouragement, fo liberally extended to the two former publications of 
 this work ; and the frequent calls for a third : are pleafing teftimonies that his en- 
 deavours have not been wholly in vain. He ventures to confider the fale of two 
 numerous editions, written upon a fubjeft rather inftru&ive than entertaining ; and 
 in a language generally unknown to foreign Artifts ; as a proof of the utility of his 
 undertaking : at lead, in the country where he moft wifhed to have it ufeful. And 
 ftimulated by a defire of rendering it ftill more deferving public notice ; he has care- 
 fully revifed, and confiderably augmented this third edition: he does not prefume 
 to fay improved it ; but flatters himfelf the experience gained by thirty years very 
 extenfive praftice, fince the original publication; has enabled him to judge with fome 
 degree of certainty, at leaft, of what might be left out, be added, or altered to 
 advantage. 
 
 Amongst the additions to this third edition, there is an introductory dif- 
 Courfe ; defigned to point out, and briefly to explain, the requifite qualifications and 
 duty of an architect, at this time : and in the courfe of the work, many additional 
 hints, explanations, and elucidations, have been inferted ; wherever they feemed, 
 either neceflary for better underftanding the text ; for the farther information of the 
 reader; or for giving additional force, and greater authority, to what had been before 
 advanced. It has farthermore been attempted, on different occafions, to point out 
 to the ftudent the courfe he ought to fleer ; the dangers he has to avoid ; the object 
 he muft conftantly keep in view. 
 
 To thefe additional articles in the text, are added four entire new plates ; one 
 of chimney pieces, the reft containing vales, urns, and other ornamental pieces 
 defigned by the Author ; and executed for their Majefties, his Grace the Duke of" 
 Marlborough, the Earl of Charlemont, and fome other perfons of high rank. Several 
 of the old plates have alio been altered ; and it is hoped, fomewhat improved. 
 
 The favourable reception, this Treatife on the ornamental part of architecture 
 has experienced, both in England, and abroad, is fuch, as certainly required a full 
 difcharge, of the original engagement : by treating upon the Art, in its remaining 
 branches. But fuch, and fo conllant, have been the Writer's avocations ; that 
 in the courfe of thirty years, it has never been in his power, properly to let about, 
 fo extenfive an undertaking: and a variety of concurring circumftances, render it 
 lefs fo now, than ever. Loole materials have, indeed, been abundantly collected ; 
 and many defigns have from time, to time, been made ; with an eye to the general 
 intention : but there are fo many more to make ; fo much to correct and methodize ; 
 that he muft, however reluctantly, ■ relinquifh the talk : and confign the remainder 
 to the execution of fome future pen. 
 
 In the mean time, from the method throughout obferved, in treating the pre- 
 fent fubject ; it is prefumed ; that this part may now be, as it has hitherto been, con- 
 fidered as a diftinct work : in all refpects unconnected, with any thing that might, or 
 
 c may 
 
vi 
 
 PREFACE. 
 
 may follow: which form was originally fixed upon for -the advantage of the fub- 
 fcribers, as well as for the fecurity of the publifher ; and has now been continued, 
 partly from neceffity ; and in part, for the benefit of purchafers : many of whom, have 
 little or no occafion to ftudy any more of the art, than what the prefent publication 
 contains : the remaining branches, though very important to builders ; being of 
 little fervice to connoiffeurs, or men of tafte ; who afpire to be judges of the beau- 
 ties, or deformities of a ftruclure : without caring much about the refb ; or having 
 the fatigue, of entering into particulars ; either concerning its value, its difpofition, 
 or conftruftion. 
 
INTRODUCTION. 
 
 CIVIL ARCHITECTURE is that branch of the builder's art, which has for its 
 objeas all ftrudures, either facred or prophane, calculated to fupply the 
 wants and comforts ; or to promote, extend, and diverfify, the pleafures of 
 life : either contrived to facilitate the bufmefs ; give luftre to the duties ; or difplay 
 the Itate and diftinftions of fociety. Its purpofe is to ereft edifices, in which 
 Itrength and duration, fhall unite with beauty, convenience, and falubrity ; to 
 afcertain their value; and to build them with every attention to fafetyj eafe, and 
 economy* 
 
 Many, and Angularly oppofite, mull be the qualities and attainments of him, 
 who afpires to excel, in an art fo varioufly dire6tedi " Archite6lure," fays father 
 Laugier, " is of all ufeful arts, that which requires the moll diftinguilhed talents 5 
 " there is perhaps as much genius, good fenfc, and talk requifite, to conftitutc a 
 " great architect ; as to form a painter or poet of the fir It clafs. It would be a 
 " ftrange error to fuppofe it merely mechanical ; and confined to digging founda-a 
 ' : tions, or building walls, by rules of which the practice, fuppofes nothing more 
 " than eyes accuftomed to judge of a perpendicular, and hands expert in the ma- 
 " nagement of a trowel. In contemplating the builder's art, all indeed that {hikes 
 " a vulgar imagination, are, confided mounds of incommodious ruins; formlefs 
 " heaps of collected materials; dangerous fcaffoldings ; a frightful clatter of ham- 
 " mers, tools, and working machinery ; an army of flovenly befpattered labourers 
 " and workmen : but thefe are only as it were, the rough bark of an art, the inge- 
 " nious myfteries of which, though only difcoverable to few obfervers, excite the 
 " admiration of all who comprehend them. They perceive inventions of which the 
 " boldnefs, implies a genius, at once fertile and comprehenfive ; proportions of 
 " which the juftnefs, announces a fevere and fyltematic precifion ; ornaments of 
 « which the excellence, difcovers exquifite and 'delicate feelings : and whoever is 
 " qualified to tafte fo many real beauties, will, I am certain, far from attempting to 
 " confound arcrute&ure with the inferior arts, be Itrongly inclined to rank it amongft 
 " thofe that are molt exalted." 
 
 VlTRUVlUS requires that the architect Ihould have both ingenuity and applica- 
 tion, obferving, that wit without labour, or labour without wit, never armed at 
 perfection. " He Ihould," fays he, " be a writer and draughtfman, undcrltand geo- 
 " metry, optics, and arithmetic ; be a good hiltorian and philofophcr, well Ikilled 
 " in mulic, and not ignorant in either phylic, law, or aftrology. The fame author 
 " farther requires that he fhould be pollened of a great and enterprizing mind;, be 
 ' ; equitable, trufty, and totally free from avarice ; without which, it would be im- 
 " pofiible to difcharee the duties of his ftation with due propriety : ever difintercfted, 
 
 B " he 
 
8 INTRODUCTION. 
 
 " he fhould be lefs felicitous of acquiring riches, than honour, and fame, by his pro- 
 « feffion." 
 
 And Pythius, another ancient writer, cited by Vitruvius, infifted, that an ar- 
 chitect mould be more expert in every profelfion, connected with his art; than the 
 ableft profeffors of each art reflectively. 
 
 To this however Vitruvius docs not affent; obferving, " that the human mind 
 " cannot arrive at perfection, in fo many difficult and various parts of knowledge. 
 < ; It is," fays he, " even rare in the courfe of a century to find a man fuperlativcly 
 " excellent in any profeffion ; why then is it expefted, that an archited fhould 
 " equal Apelles in painting, Miro and Polycletes in fculpture, Hippocrates in me- 
 " dicine, Ariftoxenes in mufic, or Ariftarchus in purity of language : Pythius fhould 
 " have remembered, that every art confifts of two parts ; theory, and pradice : the 
 " latter of which, appertains peculiarly to its profeffors ; but the former ; is com- 
 '• mon to them, and to the learned in general. If therefore an architeft, be fuffi- 
 " ciently mafter in all the arts connected with his profeffion, to judge perfeftly of 
 ' ; the merit of their produftiens, it is the moft that fi-.ould be infilled upon ; and if 
 ' ; fo qualified, he fhall not need to blufh at his ow n infufriciency." 
 
 In fact, the bufinefs of an architeft requires him rather to be a learned judge, 
 than a fkilful operator ; and when he knows how to direft, and inftruft others, with 
 precifion ; to examine, judge, and value, their performances with mafiterly accuracy ; 
 he may truly be faid to have acquired all that moft men can acquire ; there are but 
 few inftances of fuch prodigies as Michael Angelo Bonarroti, who was at once the 
 firlt architect, painter, geometrician, anatomill, and lculptor, of his time. 
 
 Vitruvius farthcrmorc obferves, that an art enriched with fuch variety of 
 knowledge, is only to be learned by long and conftant application ; and advifes his 
 cotemporaries never to afii'.me the title of architefts, till they are perfeft mafters of 
 their own profeffion, and of the arts and fciences, ■with which it is connefted : a cau- 
 tion, that even in the prefent times, may perhaps not be unneceffary. 
 
 It will not readily occur, why a man Ihould be either hiftorian, or philofopher; 
 mufician, or phyfician ; lawyer, or aftrologer ; before he ventures to commence ar- 
 chitect. Our author, however, affigns his reafons ; which, for the fake of brevity, 
 are here omitted. The curious reader will find them in the original book ; to which 
 he is referred, for farther information. 
 
 Some part of all this knowledge, though it might have been neceffary to an 
 artift of the Auguftan age, is not absolutely fo now ; fome part of it too, feems ra- 
 ther oftcntatioufly introduced ; more to enumerate the learned writers own qualifi- 
 cations, than fuch as were indifpenfably neceffary, to every man of his profeffion : 
 the remaining part fhall be mentioned in its place; while I venture to give an opi- 
 nion, concerning the requifite qualifications of an architect : differing in fome parti- 
 culars, from thofe above given ; but more adapted, I flatter myfelf, to the wants, 
 cultoms, and modes of life of our cotemporaries, as well as to the duties and avo- 
 cations of a modern architect. 
 
 Architecture, 
 
INTRODUCTION. 
 
 9 
 
 Architecture, being an active, as well as fpeculative art ; in which exertions 
 of the body, the organs of fenfe, and of utterance, are equally neceffary with efforts 
 of the mind ; it naturally follows, that fuch as intend to make it their profeffion, 
 fhould enter the lifts with a good flock of health, vigor and agility ; they fhould 
 neither be lame, nor unwieldy ; neither aukward, flow, nor helplcfs ; neither pur- 
 blind, nor deaf; nor have anything ridiculous about them, either natural or ac- 
 quired. Their underftanding fhould be found; the fight and apprehenfion quick ; 
 the reafoning faculties clear, and unwarped by prejudices ; the temper enterprizing, 
 fteady, refolute ; and though benevolent, rather fpirited than palfive, meek, or 
 effeminate. 
 
 The neceflity of thefe qualities, in one deftined to direcl and manage great 
 Works, to govern and control numerous bands of clerks, infpectors, artifts, artificers, 
 workmen and labourers ; muft be fufficiently obvious. And as at the prefent time, 
 few engage in any profeffion, till qualified for the world by a proper fchool educa- 
 tion at leaft ; it muft be fuppofed, that to a competent proficiency in the learned 
 languages, the ftudent adds a thorough knowledge of his own ; fo as to fpeak and 
 write it, correctly at leaft, if not elegantly; that he is a good penman; verfed in 
 accounts ; a ready practitioner in arithmetic ; and has received and profited by fuch 
 other inftructions, as tend to fix the moral character; to inculcate integrity; to 
 polifh the minds, and improve the manners of youth. 
 
 Proficiency in the French and Italian languages is alfo requifitc to him ; 
 not only that he may be enabled to travel with advantage, and convcrfe without 
 difficulty, in countries where the chief part of his knowledge is to be collected ; 
 but alfo to underftand the many, and almoft only valuable books treating of his 
 profeffion : the greater part of which, have never been tranflated. And as among 
 feamen, there is a technical language, of which no admiral could be ignorant, 
 without appearing ridiculous ; fo in architecture, and the profeffions connected there- 
 with, there are peculiar modes of expreffion, and terms of art, of which an architect 
 muft by no means be ignorant ; as that knowledge, impreffes upon the minds of the 
 workmen, a refpeftable idea of his abilities, confequently, a deference for his opi- 
 nions ; and farthermore enables him to explain to them intelligibly, what he intends, 
 or wifhes to be performed. 
 
 To thefe qualifications, mental and corporeal, muft be united genius ; or a 
 ftrong inclination and bias of mind towards the purfuit in queftion : without which 
 little fuccefs can be expetted. This quality, whether it be * the gift of God, or a t 
 fortuitous propenfity ; whether innate, or acquired ; has, not unaptly, been com- 
 pared to thofe inftincts implanted by nature in different animals; by which, they 
 are enabled to comprehend, and to perform certain things, with much eafe ; while 
 
 * The Lord hath called Bezalcel, and hath filled him with the 
 Spirit of God, in wifdom, in underftanding, and in knowledge, 
 and in all manner of workmanlhip, and to devife curious works. 
 
 And he hath put it in his heart, that he may teach both he and 
 Aholiab, them hath he filled with wifdom of heart to work all 
 manner of work. Exodus, Chap. xxxv. v. 30, 31, 32, 33, 34. 
 
 t In the window of his mother's apartment, lay Spencer's Fairy 
 Queen ; in which he very early took delight to read, till, by feeling 
 
 the charms of Verfe, he became, as he relates, irrecoverably a Poet. 
 Such are the accidents, which, fomctimcs remembered, and per- 
 haps fometimes forgotten, produce that particular delignation ot 
 mind, and propenfity for fomc certain feience or employment, 
 which is commonly called genius. The true genius is a mind of 
 large general powers, accidentally determined to fome peculiar 
 direction. Sir Joftiua Reynolds, the great painter of the prefent 
 age, had the firlt fondnefs for his art excited by the perufal of 
 Richardfon^Treatife. Dr. Johnfon's life of Cowley. 
 
 c 
 
 others, 
 
IO 
 
 INTRODUCTION. 
 
 others, not having the fame natural difpofition, neither comprehend, nor can per- 
 form them : thus the man of genius ; or he, whofe mind is peculiarly adapted to 
 the contemplation of his fubjeft ; comprehends with eafe, diftinguifhes with perfpi- 
 cuity, treafures up with nice felection ; whatever is ingenious, extraordinary, ufeful 
 or elegant : his imagination ever active in a favourite purfuit, will abound in ideas, 
 combinations and improvements, equally new, ftriking and agreeable ; while he who 
 miftakes his way, and applies to ftudies for which nature, or early impreffions, have 
 not prepared him ; labours fluggifhly ; without relifh, as without effect ; like Sify- 
 phus, ever toiling up a hill, the fummit of which he is never to reach. 
 
 As many forts of knowledge, very oppofite in their natures, come under the 
 architect's confideration ; his genius muft be of a complex fort : endowed with the 
 vivacity and powers of imagination, requifite to produce fublime or extraordinary 
 compofitions ; and at the fame time, with the induftry, patience, and penetration, 
 neceffary to inveftigate mathematical truths ; difcufs difficult, fometimes irkfome fub- 
 jects ; and enter into details of various forts, often as tircfomc, as they are neceffary : 
 a genius equally capable of expanding to the nobleft and moft elevated conceptions, 
 or of Ihrinking to the level of the meaneft and minuteft enquiries : as Doctor John- 
 fon expreffes it; a mind, that at once comprehends the vaft, and attends to the 
 minute. 
 
 Dis POSITIONS of this nature are feldom found, their conftituent qualities are in 
 fome degree incompatible ; and hence perhaps, chiefly arifes, the rarity of compleat 
 maftcrs in the profeffion. The lively ftudent naturally ftrikes into the paths which 
 afford moft fcope for his fancy; he exercifes himfelf in the arts of compofition, and 
 in the different branches of defign ; improves his knowledge of painting, fculpture, 
 books, and flructures ; form his tafte, and turns his whole attention towards the 
 fublimer parts of the art ; neglecting all the while, the inferior knowledge ; fo ufeful, 
 fo abfolutely neceffary in practice ; and of which a perfect matter, can never be ig- 
 norant. Ambitious to excel, he muft not neglect attainments, without which he 
 cannot operate, while they may be purchafed at the expence of indultrv, and 
 fteady perfeverancc. 
 
 A celebrated Italian Artift, whofe tafte and luxuriance of fancy were un- 
 ufually great, and the effect of whofe compofitions, on paper, has feldom been 
 equalled ; knew little of conftruction or calculation, yet lefs of the contrivance of 
 habitable flructures, or the modes of carrying real works into execution ; though 
 ityling himfelf an architect. And when fome penfioners of the French academy at 
 Rome, in the Author's hearing, charged him with ignorance of plans, he compofed a 
 very complicated one, fince publifhed in his work ; which fufficiently proves, that the 
 charge w as not altogether groundlefs. Indeed, it is not unfrequent in fome coun- 
 tries of the continent, to find ingenious compofers and able draughtfmen, with no 
 other reading than Vignola's rules, and without any fkill whatever in the executive 
 parts ; or knowledge of the fciences belonging thereto. 
 
 On the other hand, the ftudent of a more faturnine caft, unable, or fearful 
 perhaps, of foaring fo high ; applies his powers to the operative and economical 
 branches of the art, refting fatisfied in the parts of defign and compofition, to imitate 
 or copy others ; content, if by borrowing whatever falls in his way, he avoids any 
 
 ftriking 
 
INTRODUCTION. 
 
 ii 
 
 ftriking abfurdities; and reaches that ftate of mediocrity, which though it may 
 efcape cenfure, commands no praife. 
 
 In countries where mechanics affume the profeffion, and arrogate the title of 
 architeds ; men of this fort abound : they are by foreigners {tiled portfolio artifts ; 
 and their produftions, collefted without judgement, from different ftores ; mull ever 
 be difcordant : without determined ftile ; marked character ; or forcible effeft : al- 
 ways without novelty ; and having feldom either grandeur or beauty to recommend 
 them. They are pafticcios in building ; generally more imperfect than thofe of the 
 ftage. 
 
 BUT though genius be the bafis of excellence, it can alone, produce but little : 
 the richeft foil when neglefted, affords no other crop than weeds ; and from the 
 happicft difpofition without culture ; without knowledge of rules to guide, or judge- 
 ment to reftrain ; little more can be expeded, than capricious conceits ; or luxuriant 
 extravagancies. 
 
 Of mathematical knowledge, geometry, trigonometry, and conick fcdions, 
 fhould be underftood; as teaching the conllruction, properties, contents, and 
 divifions of the forms ufed in building. Likewife mcchanicks and hydrauheks, 
 which treat of the formation, and afcertain the effects of all kinds of machinery, 
 limple, or complex, ufed in building: likewife of the raifing, conveyance, and 
 application of water; as Well for the common ufes of life, as to produce many 
 extraordinary effefts ; very ornamental in gardening, and efficacious in manufac- 
 tures. 
 
 These fciences farthermore, treat of the gravitation of bodies ; and in what 
 manner, and by what laws, they move, and aft upon each other, under different 
 circumfiances ; with many other particulars, of frequent and material ufc in an art, 
 where vaft weights are to be moved ; and in which, ftru&ures of whatever form, 
 muft be calculated to carry great and indeterminate burthens ; to ftand the ffiock of 
 heavy laden carriages ; and to refill the utmoft fury of the elements. 
 
 By opticks, particularly that part which is called perfpeaive, the artift is 
 enabled to judge with precifion, of the effefts of his compofitions, when carried into 
 execution ; and alfo to reprefent them more pleafmgly in defign ; as well for his own 
 fatisfa&ion, as to give his employers a more perfeft idea of his intentions, than could 
 be collefted from geometrical drawings. , And an acquaintance with the other 
 branches, will be ufeful on many occafions ; in the diftribution of light, to produce 
 particular ftriking effeds ; and in the difpofal of mirrors, to create deceptions ; mul- 
 tiply objefts ; and raife ideas of far greater, than the real magnitude, or extent, of 
 that which is exhibited to view. 
 
 As to a painter, or fculptor, fo to an architect ; a thorough maftery in defign, 
 is indifpenfably ne'eeffary; it is the fine qua non ; and the mat a bajlanza of Carlo 
 Maratt, is full as applicable in one art, as in the others ; for if the architeft's mind 
 be not copioufly ftored with correct ideas of forms ; and habituated by long practice, 
 to vary and combine them, as the fancy operates : or if his hand has not the power 
 of reprefenting with precifion and force, what the imagination fuggefts ; his com- 
 
 D pofitions 
 
12 
 
 INTRODUCTION. 
 
 pofitions will ever be feeble, formal, and ungraceful : and he will ftand unqualified 
 to difcharge the principal part of his duty ; which is, to invent and difpofe all that 
 enters into his defign ; and to guide the painter, fculptor, and every other artift or 
 artificer, by advice, and precife directions ; as far, at leaft, as relates to the outline 
 and effecf of their performances: that all may be the effort of one mind, mat- 
 ter of its objc6l ; and all the parts be calculated, to produce a general uniformly 
 fupported whole : which never can be the cafe, where artifts and artificers are left 
 to themfelves ; as each, naturally enough, confiders the perfeftion of his own part ; 
 fometimes without comprehending, and always without attention, to the whole com- 
 pofition. Even Bernini, though an able architect; could feldom refrain from 
 faenficing architecture, to the graces of fculpture and painting ; the ill confequences 
 of which, is fufficiently confpicuous in feveral of his works ; but particularly, in his 
 piazza of St. Peter's; where the ftatues placed upon the colonades, inflead of Hand- 
 ing upright, as they fhould do, in all fuch filiations ; are fo whimfically contorted, 
 that at a little diftance, they feem to be performing a dance, and very confiderably 
 injure the efted, of that magnificent approach, to the firft building in the Chriftian 
 world. 
 
 To the knowledge, praftice, and facility of hand, juft mentioned ; compofers 
 in architecture muft unite a perfect acquaintance with all kinds of proportions; 
 having relation either to the grandeur, beaut}-, ftrength, or convenience of ftruc- 
 tures : their variations, as occafions require ; and the different effefts which fituation, 
 diftance, light, or other circumftances have upon them: which is a fcience of very 
 confiderable difficulty; and only to be attained, by much experience, and dole 
 obfervation. 
 
 He farthermore muft be well verfed in the cuftoms, ceremonies, and modes of 
 life of all degrees of men, his cotemporaries ; their occupations and amufements ; the 
 number and employments of their domefticks, equipages and appurtenances ; in what 
 manner the bufmefs allotted to each is performed, and what is requifite or proper, 
 to facilitate the fervice ; with many other particulars, which though feemingly tri- 
 fling, muft not be unknown to him, who is to provide for the wants, and gratify, 
 the expectations of all. 
 
 Neither muft he be ignorant of ancient hiftory, fable and mythology ; nor of 
 antiquities ; as far as relates to the ftruftures, fculpture, ornaments, and utcnfils of 
 the Egyptians, Greeks, Romans, and Etrurians ; as the eftablifhed ftile of decora- 
 tion, collects its forms, combinations, fymbols, and allufions, from thefe abundant 
 fources ; which time, and the concurring approbation of many ages, have rendered 
 venerable. 
 
 The painter's canvas, and the fculptor's block, are their ultimate objects.; but 
 the architect's attention muft at once be directed, to the grandeur or beauty, ftrength, 
 duration, fit contrivance, and economical execution of his compofitions : qualities, 
 that ever clalh ; and which it often is exceedingly difficult to reconcile. His different 
 plans, elevations, and fections, muft all be confidered at the fame time ; and like the 
 parts of a piece of mufick, be contrived to harmonize, and fet each other offtomoft 
 advantage. 
 
 To 
 
INTRODUCTION. 
 
 13 
 
 To the excellence of the defigner's art, mud yet be added, the humbler, though 
 not lefs ufeful fkill, of the mechanick and accountant ; for however able _ the 
 draughtfman, he fhould not deem himfelf an architeS, nor venture upon pradifing 
 in that capacity ; till mafter of the executive parts of this profeflion, 
 
 These imply, an acquaintance with all the known, approved methods of 
 building, every kind of ftructure fecurely, and for duration. How difficulties 
 arifing from fituation, nature of foils, or other adventitious circumftances, are to be 
 furmounted; and precifely, what precautions the occafion may require; in order 
 to avoid fuperfluous expence, by avoiding to employ fuperfluous remedies. 
 
 They farther imply, a power of conducting large works, with order and 
 economy; of meafuring correctly according to eftablifhed ufages ; of regulating 
 the accounts with accuracy ; of employing with difcernment; directing and govern- 
 ing with fkill and temper; many men of different profeflions ; capacities, and 
 difpoutions : all without violence, or clamour * yet with full effect, 
 
 To maftery in thefe particulars, muft be added, proficiency in all the arts, 
 liberal or mechanick, having relation to the building or adorning ftructures : a 
 capacity of determining exactly, the goodnefs of the different materials ufed ; with 
 the degree of perfection, and confequent value at all times, of every kind of work: 
 from the Irately, fplendid produftions of the pencil, and chiffel; to the molt trifling 
 objects employed in a fabrick : together With all the circumftances conftituting their 
 value; as upon thefe, its occafional fluctuation muft depend. 
 
 Considerable as this detail may fcem, it is yet infufficient. A builder, 
 like a chemift, mull analyze his fubftances ; be fo much mafter of the conftituent 
 parts of his compofition ; their neceflary forms and dimenfions ; that, as thofe of 
 the profeflion term it, he may be able to take the whole building to pieces ; and 
 eftimate from his defigns, the total amount of the ftrufture, before a Angle ftone 
 is prepared. 
 
 To ignorance, or inattention in this particular ; of which, for ferious reafons, 
 no architeft fhould ever be ignorant, or carelefs ; muff be afcribed, the diflrefsful, 
 often the ruinous uncertainty, of common eftimates : for fome, who condefcend to 
 eftimate their own productions, know perhaps, but imperfeftly, how their defigns 
 are to be carried into execution; and confequently omit in the valuation, much 
 that muft be done. And fome, who being too great for fuch minute inveftigations, 
 employ others to eftimate ; without defcribing thoroughly the manner in which they 
 intend to proceed ; leave them fo much in the dark, that even if capable, they can 
 do little more than guefs at the value ; and are feldom or ever right in their con- 
 jectures. 
 
 Others there are, who being either unqualified, or too idle to calculate 
 themfelves, and perhaps, too parfimonious to employ any other perfon; (for it is 
 a work of time, and confiderable expence), value by the fquare ; an operation, both 
 eafy and expeditious ; but of all, the molt fallacious ; excepting in common build- 
 ings ; of fimilar forms and dimenfions, built and finifhed in the fame manner: 
 where, the amount of what has been done, may be a guide to value by. But in 
 
 E extraordinary 
 
H INTRODUCTION. 
 
 extraordinary works, thefe rapid eftimators never hit the mark ; and are generally 
 fo far wide of it, as to draw fhamc and reproaches on themfelves ; regret, difficulties, 
 fometimes ruin ; both on the employer, and the tradefmen employed. 
 
 As one, in whofe honour and judgement the employer confides ; and to whorn 
 the employed look up for proteflion and juftice ; as mediator, and judge between 
 them ; on fubjeas generally important : the architea's fkill, vigilance, and aaivitVj 
 fhould equal the confequence of h 1S ftation ; and ftudious to fuftain his charaaer, 
 attentive to juftify the confidence rcpofed in him, he mult, neither inadvertently, nor 
 otherwifc, bring on unexpected ruinous expences ; neither countenance, nor fuffer 
 lmpohtion on the one hand ; oppreffive parfimony, or ill diluted liberality on the 
 other. 
 
 Let it not however, be inferred, from any thing here faid, that errors irt 
 elhmation proceed on every occalion, from the ignorance, or inadvertency of the 
 architca: thofe who build, are often whimfical themfelves ; or advife with fuch as 
 are: they arc plcafed to-day, difgufted to-morrow, with the fame objea : hence 
 alterations commence; deviation, fucceeds to deviation; their firft ideas are ex- 
 tended, improved and varied, till by infenfible gradations, both the form and 
 value, ot the original defign are entirely changed. 
 
 All that in fuch cafes the architca can do, and in difcharge of his duty fhould 
 do ; is, at the time, to notify by written information, the confequences of the alter* 
 ations taking place. I fay written, for words are foon forgot; or if remembered 
 explained away; and fometimes denied. But written teftimony admits of no equi- 
 vocation, it cannot be difputed, and will fix the blame, where it fhould be fixed • not 
 on the architea's want of care or judgement; but on the builder's wavering difpofition. 
 
 Ornamental gardening, which in Italy, France, and other countries of the 
 Kuropean continent, conftitutcs a part of the architea's profeffion ; is here in other 
 hands : and, with a few exceptions, in very improper ones. Should that pleafim? 
 art be ever praaifed by men, who have made compolition in general, a ftudy • who 
 by having feeri much, have ftored the fancy with copious imagery ; and by 'profi- 
 ciency m the arts of defign, formed a corrca and elegant tafie; we might cxpea to 
 find much more variety, and far higher pcrfcaion in works of that fort, than can 
 now be expeacd, or is yet to be boafted of. 
 
 It feems almoft fuperfluous to obferve, that an architea cannot afpirc to 
 luperionty m his profeflion, without having travelled ; for it mult be obvious, that 
 an art founded upon rcafoning and much obfervation, is not to be learnt without 
 it ; books cannot avail ; defcriptions, even drawings or prints, are but weak fubfti* 
 tlltes of realities: and an artilt who conftantly inhabits the fame place, converfes 
 with the fame people, and has the fame objeas always obtruding on his view; muft 
 heceflanly have very confined notions; few ideas, and many prejudices. Travelling; 
 routes the imagination ; the light of great, new, or uncommon obj e a S , elevates the 
 mind to lubhme conception ; enriches the fancy with numerous ideas • fets the 
 rcafoning faculties m motion : he who has beheld with attentive confidcration the 
 venerable remains of ancient magnificence; or ftudioufiy examined the fple'ndor 
 ol modern times, m the productions of the fublime Bonarotti, Bramante, Vignola, 
 
 Palladio, 
 
INTRODUCTION. 
 
 15 
 
 Palladio, Raphael, Polidore, Peruzzi, Sanfovino, San Michaeli, Amanato, Bernini, 
 Pietro da Cortonna, and many other original mailers ; whofe works are the ornament 
 and pride of the European continent ; muft have acquired notions, far more exten- 
 fivc, and fuperior to him, whofe information has been gleaned, from the copiers, 
 or feeble imitators, of thefe great men ; and their ftupendous works : he muft be in 
 compofition more animated, varied and luxuriant ; in defign, more learned, corre£c, 
 and graceful : ever governed by a tafte formed at the fountain's head, upon the 
 pureft models ; and impreffed with the effecl: of thole great obje&s, which fome 
 time or other in life, have been the admiration of moil who either claim diftinftion, 
 or afpire to elegance ; he muff always labour with greater certainty of fuccefs. 
 
 By travelling, a thorough knowledge of different countries, their language and 
 manners, are alone to be attained in perfection : and by converfmg with men of 
 different nations, we learn their opinions ; hear their rcafons in fupport of them ; 
 and are naturally led to reafon in our turn : to let afide our national prejudices, 
 reject our ill-founded maxims, and allow for granted, that only which is clearly 
 proved ; or is founded on reafon, long experience, and careful obfervation. 
 
 Thus habituated to confider with the rigour of critical accuracy, we learn to 
 fee objecls in their true light ; without attention, either to cafual approbation or 
 diflike: to diftinguifh truth through the veil of obfeurity, and detect pretence 
 however fpecioufly fuftained. Travelling to an artift, is as the uruverfity to a man 
 of letters, the laft ftagc of a regular education ; which opens the mind to a more 
 liberal and extenfive train of thinking, diffufes an air of importance over the whole 
 man, and (lamps value upon his opinions : it affords him opportunities ot forming 
 connections with the great, the learned, or the rich ; and the friendlhips he makes 
 while abroad, are frequently the firft caufes of his reputation, and fuccefs at home. 
 
 Of the Origin, and Progress of BUILDING. 
 
 BUILDINGS were certainly among the firft wants of mankind; and archi- 
 tecture muft, undoubtedly be claffed, among the earlieft antediluvian arts. 
 Scripture informs us, that Cain built a city : and foon after the deluge, we 
 hear of many cities ; and of an attempt to build a tower that mould reach the fky : 
 a miracle flopped the progrefs, and prevented the completion of that bold defign. 
 
 The firft men, living in a warm climate, wanted no habitations: every grove 
 afforded fhadc from the rays of the fun, and fhelter from the dews of the night ; 
 rain fell but feldom, nor was it ever fufficiently cold, to render clofcr dwellings than 
 groves, either defirable or neceffary, even in the hours of repofe : they fed upon 
 the fpontaneous productions of the foil, and lived without care, as without labour. 
 
 But when the human fpecies increafed, and the produce of the earth, however 
 luxuriant, was infufficient to fupply the requifite food ; when frequent difappoint- 
 ments drew on contention, with all its train of calamities, then feparation became 
 neceffary ; and colonies difperfed to different regions : where frequent rain, ftorms 
 and piercing cold, forced the inhabitants to feek for better fhelter than trees. 
 
 F 
 
 At 
 
i6 
 
 ORIGIN, and PROGRESS 
 
 At fir ft the}' moft likely retired to caverns, formed by nature in rocks ; to 
 hollow trunks of trees ; or to holes, dug by themfelves in the earth ; but foon 
 difgufted with the damp and darknefs of thefe habitations, they began to fearch 
 after more wholefome and comfortable dwellings. 
 
 The animal creation pointed out both materials, and manners of conftru&ion ; 
 fwallows, rooks, bees, ftorks ; were the firft builders : man obferved their inftin&ive 
 operations, he admired ; he imitated ; and being endued with reafoning faculties, 
 and of a ftruclure fuited to mechanical purpofes, he foon outdid his mailers in the 
 builder's art. 
 
 Rude and unfecmly, no doubt, were the firft attempts ; without experience or 
 tools, the builder collected a few boughs of trees, fpread them in a conick fhapc, 
 and covering them with rufhes, or leaves and clay ; formed his hut : fufficient to 
 fhelter its hardy inhabitants at night, or in feafons of bad weather. But in the 
 courfe of time, men naturally grew more expert ; they invented tools to fhorten 
 and improve labour ; fell upon neater, more durable modes of conftru&ion ; and 
 forms, better adapted than the cone, to the purpofes for which their huts were 
 intended. They felt the want of convenient habitations, wherein to taftc the 
 comforts of privacy, to reft fecurely^ and be effectually fcreened from troublefome 
 exceffes of weathers. They wanted room to exercife the arts, to which neceffity 
 had given birth ; to depofit the grain, that agriculture enabled them to raife in 
 abundance ; to fecure the flocks, which frequent disappointments in the chace, had 
 forced them to collect and domefticate. Thus ftimulated, their fancy and hands, 
 went arduoufly to work, and the progrefs of improvement was rapid. 
 
 That the primitive hut was of a conick figure, it is reafonable to conjecture"} 
 from its being the limpleft of folid forms : and moft calily conftrufted. And 
 wherever wood was found, they probably built in the manner above delcribed ; but, 
 foon as the inhabitants difcovered the inconvenience of the inclined fides, and the 
 want of upright fpace in the cone ; they changed it for the cube | and, as it is flips 
 pofed, proceeded in the following manner. 
 
 Having, fays Vitruvius, marked out the fpace to be occupied by the hut; 
 they fixed in the ground, feveral upright trunks of trees, to form the fides ; fillino- 
 the intervals between them with branches, clofely interwoven, and fpread over with 
 clay. The fides thus compleated, four beams were laid on the upright trunks; 
 which being well faftned together at the angles of their junction, kept the fides 
 firm ; and likewife ferved to fupport the covering or roof of the building ; com- 
 peted of Imaller trees, placed horizontally, like joifts : upon which were laid feveral 
 beds of recdsj leaves, and earth or clayi 
 
 By degrees, other improvements took place ; and means were found to make 
 the fabrick lafting, neat, and handfome : as well as convenient. The bark and 
 other protuberances were taken from the trees that formed the fides, thefe trees 
 were raifed above the dirt and humidity on ftones ; were covered at the top with 
 other ftones ; and firmly bound round at both ends with ozier or cords, to fecure 
 them from fplitting. The fpaces between the joifts of the roof, were clofed up with 
 
 clay 
 
18 ORIGIN, and PROGRESS 
 
 to dimenfion; and all their ideas of elegance or beauty, to richnefs of materials, 01" 
 gaudinefs of colouring. We obferve a barrerinefs of fancy in their compofitions • 
 a fimpHcity and famenefs in their forms; peculiar to primitive inventions - but' 
 even in the early works of the Egyptians, belide their prodigious dimenfions ; there 
 arc evident marks of tafte and fancy ; it is in them we trace the firft ornamental 
 forms in architecture, and to their builders we are raolt probably indebted for the 
 invention of columns, bales, capitals and entablatures. We likewife read of roofs 
 fupported by figures of Coloflal men and animals in the works of the Egyptians 
 feveral ages before the introduction of Perfians or Caryatides, in the ftmdures of 
 Greece: and of temples, adorned with {lately porticos; enriched with columns, 
 and lculpturc; and built, before there were any temples in Greece. 
 
 Hence it may be inferred that the Grecians were not the inventors of orna- 
 mental architeaure, but had that art, as well as their religion and gods, from the 
 Egyptians : or from the Phoenicians their nearer neighbours, whofe fkill in arts is 
 faid to have been anterior to theirs. Though both were of Egyptian origin. 
 
 Diodorus SlCULUS obferves, that the Egyptian priefts proved, both by their 
 facrcd records, and alio by other undoubted teftimonies ; that not only the poets 
 and philoiophers of Greece, travelled anciently into Egypt, to colled 'their know- 
 ledge ; but alfo their architefts and fculptors, and that every thing in which the 
 Grecians excelled, and for which they were famous ; was originally carried from 
 Egypt into Greece, 
 
 The Phoenicians however were very early celebrated for their proficiency in 
 the arts of defign ; and there is no doubt, but the Greeks availed themfclves of their 
 inventions. 
 
 We are told that Hiram made two capitals for the pillars Jachin, and Boaz m 
 Solomon's temple ; which, far as can be collccled, from the accounts given of them 
 m feveral parts of fcripture, very much refembled the Corinthian capitals, both in 
 form and proportions ; though executed fomc centuries before Calimachus, is report- 
 ed by Vltruvms, to have invented it at Corinth. The cherubims of Hiram too, or 
 the Coloffal figures of men and animals, in the flruftures of the Egyptians, were 
 prior inventions ; and undoubtedly fuggeited to the Greeks, their ideas of Perfians 
 and Caryatides. 
 
 And though architeaure is certainly indebted to the Grecians, for confidcrable 
 improvements ; yet, it may with confidence be averred, that they never brouo-ht 
 the an to its utmoft degree of excellence. The art of building, fays Leon Baptifta 
 Alberti, « fprung up, and fpent its adolefcent ftate in Afia ; after a certain time, 
 j it flowered in Greece ; and finally acquired perfed maturity in Italy ; among the 
 - Romans." And whether we call to mind, the defcriptions given by ancient 
 writers of Nineveh, Babylon, Thebes, Memphis; the Egyptian pyramids, the 
 lepulcnrcs of their kings, their temples and other publick monuments: or con- 
 template, among the Roman works; their palaces, amphitheatres, baths, villas 
 budges, maufoleums and numerous other, yet exiftmg, teftimonies of their fplen- 
 dor; it mult candidly be confeffed, that the Grecians have been far excelled by 
 
 other 
 
of BUILDING. 
 
 19 
 
 Other nations, not only in the magnitude and grandeur of their flructures, but like- 
 wife in point of fancy, ingenuity, variety, and elegant felection. 
 
 How diftant the Grecians were from perfection in proportions, in the art of 
 profiling, and other parts of the detail; will foon be evident to any impartial 
 examiner, who compares the publications of Le Roi, Stewart, Revett, and other 
 ingenious Levantine travellers ; with the antiquities of the Romans : either on the 
 fpot, or as they have been given in books ; by Palladio, Serlio, Defgodetz, Sandrart, 
 Piranefi, and other authors. The laft of thofe here mentioned, has publifhed a 
 parallel, between the faireft monuments of Greece and Rome ; which is recom- 
 mended to the inflection and perufal, of thofe who have not yet feen it. 
 
 Indeed, none of the few things how exifting in Greece, though fo pompoufly 
 tlefcribed, and neatly reprefented, in various publications of our time ; feem to 
 deferve great notice ; either for dimenfion, grandeur of ftile, rich fancy, or elegant 
 tafte of defign ; nor do they feem calculated to throw new light upon the art, or to 
 contribute towards its advancement : not even thofe erected by Pericles or Alex- 
 ander ; while the Grecian arts flourifhed moft ; neither the famous lantern of 
 Demofthenes, nor the more famous * Parthenon ; which, though not fo confiderable 
 as the church of St. Martin, in St. Martin's Lane, exclufive of its elegant fpire ; 
 had for its architects, Phidias, Callicrates, and Ictinus ; was the boaft of Athens ; 
 excited the envy and murmurs of all Greece. W e find indeed, in Pliny, and other 
 ancient writers, very pompous defcriptions of temples, fuch as, that of Apollo at Mi- 
 letus ; of Ceres and Proferpine at Eleufes ; of the Olympian Jupiter at Athens ; and 
 above all, of Diana at Ephefus ; one of the feven wonders of the world. But if the 
 Grecian architecture was defective in the time of Alexander, it muft have been more 
 fo fome centuries earlier : and concerning temples built in + bogs, and founded 
 upon wool, to refift earthquakes ; and of which, the ftones were fet with land 
 bags ; fome doubts may be indulged : as well as of thofe made of | wax, yet refilling 
 the ardor of a Grecian Sun ; or thofe of brafs, yet catching fire and melting down. 
 
 At firft fight, it may appear extraordinary, that a people fo renowned in 
 arms ; fo celebrated for poetry, rhetorick, and every fort of polite learning ; and 
 who carried fculpture farther than any of the ancient nations ; fhould be fo deficient 
 in architecture : yet upon farther confideration, many reafons will occur why it 
 
 neceffarily fhould be fo. Greece, a country fmall in itfelf, was divided into a 
 
 number of little ftates ; none of them very powerful, populous, or rich : fo that 
 they could attempt, no very confiderable works in architecture ; having neither the 
 fpace, the hands, nor the treafures that would have been neceffary. " It muft be 
 " owned, fays Monfieur DAblancourt, that Greece, even in the zenith of her 
 " greatnefs, had more ambition than power : we find Athens flattering herfelf with 
 " the conqueft of the univerfe, yet unable to defend her own territories, againft the 
 " incurfions of her neighbours : and who can refrain from laughter at the Lacedc- 
 " monians ; rivals in fame with the Athenians ; yet, in defpair, and reduced to fue 
 
 " for peace; by the lofs of four hundred men." The lake of Meeris would have 
 
 deluged all Peloponnefus, and ruined all Greece ; Babylon would have covered 
 
 * Plutarch in Pericles. f Pliny, lib. 36, c. 14. % Paufanias Phocid. c. 6. 
 
 H 
 
 Attica, 
 
lo 
 
 ORIGIN, and PROGRESS 
 
 Attica, and more men had been employed to build that city, than there were 
 inhabitants in all the Grecian ftates. The Egyptian labyrinth, was a hundred times 
 larger than that of Crete ; and more materials have been employed in one of the 
 Egyptian pyramids, than were ufed in all the publick ftruftures of Athens. 
 
 If, at the fame time it be recolle'&ed, that Greece, while divided into many 
 governments, was conftantly harraffed with domeftick wars, and from its union, 
 always in an unfcttled fituation. That, an uncommon fimplicity of manners pre- 
 vailed among the Grecian ftates ; and the ftrifteft maxims of equality, were zealoufly 
 adhered to in molt of them ; it will be eafy to account for the fmall progrefs made 
 by the Greeks in architecture. Demofthenes obferves, that the houfes of Ariftides, 
 Miltiades, or any other of the great men of their time ; were no finer than thofe of 
 their neighbours : fuch was their moderation, and fo fteadily did they adhere to the 
 ancient manners of their country. One of the laws of Lycurgus ordained, that the 
 ceilings of hordes fhould only be wrought by an ax ; and their gates and doors be 
 left rough from the faw ; no other tools than thefe, being permitted : which law, 
 was fo fcrupuloufly obferved among the Lacedemonians; that when King Leo- 
 tychidas, faw at Corinth a ceiling, of which the timbers were neatly wrought; 
 it was fo new a fight to him, that he afked his hoft, if trees grew fquare in that 
 country. It feems indeed, as if thefe fumptuary laws of Lycurgus, had made a 
 general imprelfton ; and infpired the Greeks, rather with contempt than veneration, 
 for fplendid ftruftures : even in their beft time, they accounted it an effeminate 
 folly, to be oftentatious in that refpeft. " All the ftates of Greece, fays Plutarch, 
 " clamoured loudly againft Pericles for decorating Athens like a vain fantaftick 
 " woman, and adorning it with ftatucs and temples, which * coft a thoufand 
 " talents." 
 
 What magnificence the Grecians difplayed in their ftruftures, was confined 
 to their publick buildings ; which were chiefly temples : wherein there appears to 
 have been nothing very furprifing, either for dimenfions ; ingenuity of contrivance ; 
 or excellence of workmanfhip. Greece, almoft conftantly the theatre of war; 
 abounded not like Italy, in magnificent villas ; where the richeft produftions of 
 art were difplayed. Their publick roads were not adorned with maufoleums, to 
 commemorate their heroes ; nor the towns, with arches or bridges to celebrate their 
 triumphs. The Grecian theatres were inconfiderable, compared with thofe of the 
 Romans ; the numachiae and amphitheatres, unknown amongft them ; as were alfo 
 the thermini, in which the Romans affefted fo much fplendor. 
 
 In latter times indeed the Greeks, particularly the Athenians ; abated of their 
 original feverity ; the orator abovementioncd obferves, that in his time, there were 
 fome private houfes more magnificent than publick edifices : but this does not 
 appear to have been very common, and confequently could not be productive of 
 much additional fplendor ; even Alcibiades, the moft luxurious Greek of his time ; 
 for he was acculed of wearing a purple cloak, and of fleeping upon a bed with a 
 canvas bottom ; doth not feem to have been better lodged, than other Athenians ; 
 excepting, that his houfe was painted. 
 
 * The Parthenon is faid to have coft a thoufand talents j not quite fo much as was expended in onions and radifhes at the 
 building of a pyramid : fee Diodorus Siculus. 
 
 Since 
 
of BUILDING. 
 
 21 
 
 Since therefore the Grecian ftructures are neither the mod confiderable, moft 
 varied, nor moft perfect ; it follows that our knowledge ought not to be collected 
 from them; but from fome purer, more abundant fource ; which, in whatever 
 relates to the ornamental part of the art, can be no other than the Roman antiqui-> 
 ty yet remaining, in Italy ; France, or elfewhere : veftiges of buildings erected in 
 the politeft ages ; by the wealthieft, moft fplendid, and powerful people of the 
 world. Who, after having removed to Rome, from Carthage, Sicily, Egypt and 
 Greece ; the rareft productions of the arts of defign ; as alio the ablcft artifts of 
 the times ; were conftantly employed, during many centuries, in the conftruction 
 of all kinds of edifices that either ufe, convenience, luxury, or fplendor required. 
 Pliny informs us, that the works of the Romans were much more confiderable 
 than thofe of any other people ; that in the courfe of thirty-five years, more than a 
 hundred fumptuous palaces had been erected in Rome, the moft inconfiderable of 
 which was fit for the refidence of a king : and that in his own time, the time of 
 Vefpafian ; there were a great number, much more fplendid, than any of the hundred 
 abovementioned. The palaces of Caligula and Nero, were in extent like towns ; 
 and enriched with every thing that the moft exquifite tafte, and the moft unbounded 
 liberality, could fuggeft. 
 
 The Romans began early to cultivate architecture. Several confiderable works 
 were erected by their kings, and many more, during the magiftracy of their confuls. 
 Julius Caefar, was paffionately fond of that art ; and befides the buildings erected by 
 him in Rome; he embcllifhed with confiderable ftructures, fays Suetonius, the 
 principal cities of Italy, France, Spain, Afia, and Greece. Auguftus, boafted on his 
 death bed ; that he had converted Rome into a city of marble : he not only built 
 much himfelf, but excited his friends to follow the example ; and Mecaenas, his 
 favorite and minifter, was the patron of arts, as well as of letters. 
 
 Caligula and Nero, were to the utmoft, fplendid in their buildings. The 
 latter, carried his paffion for architecture, as it is laid, even to the extravagant 
 excel? of burning Rome, that he might have the pleafure of rebuilding it with 
 greater regularity, and magnificence ; which he afterwards did. 
 
 During the reigns of Claudius, Vefpafian, Titus, Domitian and Nerva, many 
 very confiderable publick works were erected ; both at Rome, and in other parts of 
 the Roman dominions ; and Vefpafian, not only re-edified the capitol with greater 
 magnificence than before; but alfo all the other publick buildings of Rome; which 
 had fuffered by the outrages of the Vitellians. He obliged the proprietors of ruined 
 houfes to rebuild them ; and caufed to be erected, feveral new edifices of great coft 
 and magnificence ; fuch as the temple of Peace ; the largeft covered building of 
 antiquity : another, dedicated to Minerva ; of the richeft and moft exquifite work- 
 manlhip, ever exhibited in Rome : the firft artifts then alive, having been employed 
 to paint, carve, and incruftate the fame. He alfo built the largeft amphitheatre in 
 the world ; capable of containing eighty thoufand fpectators, and many other works 
 of lefs note. His care and munificence extended themfelves in like manner, to all 
 other parts of the Roman empire ; in which he erected new cities and towns, repair- 
 ed, adorned and fortified, fuch as were old, or ruinous. 
 
 I 
 
 Titus, 
 
ORIGIN, and PROGRESS 
 
 Titus, his fucceflbr, Was fo attentive to the beauty of his metropolis ; that, 
 When a dreadful fire had deftroyed many of its temples, and publick buildings ; 
 he refolved to re-edify them at his own charge, with all poffible expedition : dif- 
 pofing of the furniture and ornaments of his own palaces, to defray the expence. 
 Death, prevented the completion of his intentions ; but Domitian, finifhed what he 
 had left undone ; and alfo adorned Rome with many new ftrucfures ; particularly 
 with a palace, furprtfing for the magnificence of its colonades, the number of its 
 rooms, the fplcudor of its baths and female apartments. His love for building 
 Was fuch ; that he wifhed to be another Midas, to the end that he might indulge his 
 paflion without control. 
 
 Trajan, in whofe reign the Roman empire was in its moft flourifhing ftate, 
 cultivated all the arts of defign ; and with the afliftance of the celebrated Apollodorus, 
 his principal architect ; executed many very considerable works. He erefted a bridge 
 of ftone over the Danube, iixty feet wide, one hundred and fifty feet high, and 
 almoft two miles in length. He alfo built feveral cities among the Dacians ; embel- 
 lifhed Rome and other parts of Italy, with many publick edifices ; rebuilt Antioch, 
 which had been almoft totally deftroyed by an earthquake ; and alfo repaired many 
 other towns in Syria, that fuffered at the lame time, by the fame calamity. 
 
 Adrian, whofe fkill in different branches of polite knowledge is well known ; 
 particularly in the arts of defign; embellifhed various parts of the Roman empire 
 with fplendid and beautiful ftrucfures ; fuch as his bridge and maufoleum at Rome ; 
 his villa near Tivoli ; his wall in Britain ; which extended Irom the river Eden in 
 Cumberland, to the Tyne in Northumberland : many temples and other publick 
 buildings in Gaul, in Greece, and in Africa : where he re-edified a conliderable 
 part of Carthage. He alfo rebuilt Jerufalcm ; which Titus had demolifhed about 
 iixty years before ; and erefted in Egypt, a ftately pillar to the memory of 
 Pompey. 
 
 Antoninus PiUS re-edified a great part of Rome, Narbonne, Antioch, and 
 Carthage : all which cities, had fuffered confiderably by fire. And it was his cuftom, 
 whenever any damage happened to a city by an earthquake, a fire, an inundation, 
 or other calamitous accidents ; to repair it with money taken out of the publick treafury. 
 He greatly improved the ports of Tarracina and Cayeta ; built conliderable baths at 
 Oftia ; aqueducts at Antium ; temples at Lavinium : and all muft be fenfible, how 
 powerfully the example of princes, operates upon the minds of their lubjecfs ; infpires 
 the fame palhons, and excites to the fame purfuits. 
 
 In fhort, architecture continued to flourifh among the Romans, though with 
 abated luftre ; till Conftantine removed the feat of empire to Byzantium : and the 
 number of ftately ftrucfures, with which Rome, and the Roman dominions abounded ; 
 is almoft incredible. Their very remains, excite at this day, the aftonifhment and 
 admiration, of every judicious beholder : in fpight of all that length of time, wars, party 
 rage, barbarifm, cafual events, fuperftition and avarice ; have done to deftroy them. 
 
 In thefe remains, there will be found abundant materials to work upon, and 
 form a compleat fyftem of decorative architeclure. The labours of the celebrated 
 
 mailers 
 
of BUILDING. 
 
 -3 
 
 mailers of the fifteenth, fixteenth, and feventeenth centuries may, perhaps be 
 S3 to enrich the Itock; and we may avail ourfelvcs of their labours to faohtate, 
 or fnorten our own; but, it fhould always be remembered that though the ftream 
 mayfwell in its courfe, by the intervention of other fupplies; yet His pureft at 
 Se fountain's head. And whoever aims at being fupenorly eminent m any pro effion 
 muft not receive his information at fecond hand, from others ; but mount himfeli 
 to die origin and reafon of things. The man, fays Michae Angelo who follows 
 anotler always is behind; but he who boldly ftrlkes into a different path, 
 may cl imb as high as his competitor: and though the road be fomewhat more 
 rugged, yet, if hi! efforts are crowned with fuccefs, the reward will amply compen- 
 fate, for the rifque and labour of the enterprize. 
 
 An anonymous Italian writer obferves, that the fuperiority of Raphael, may 
 perhaps be owing, to his having been fo univerfally admired and copied ; that the 
 modern fculptors never equalled the ancient, becaufe they have done nothing but 
 imitate them ; and if, fays he, all the ancient pamtings hitherto difcovered are 
 inferior to the modern; it is, perhaps owing, to our painters not having had the 
 works of an Apelles to copy. 
 
 N \TURE is the fupreme and true model of the imitative arts, upon which 
 every great artilt muft form his idea of the profeffion, in which he means to excel ; 
 and the antique is to the archited, what nature is to the painter or fculptor ; the 
 fource from which his chief knowledge muft be collected; the model upon which 
 his tafte muft be formed. 
 
 But as in nature few things arc faultlefs, fo neither muft it be imagined that 
 every ancient produftion in architecture, even among the Romans, was pertefct ; or 
 a fit model for imitation: as blind adorers of antiquity are lometimes dilpofed to 
 believe On the contrary, their remains are fo extremely unequal, that it requires 
 the greateft circumfpedion, and effort of judgement, to make a proper choice. The 
 Roman arts, like thofe of other nations; had their rile, their aera of periea.on then- 
 decline At Rome, as in London or Pans, there Were few great architects but 
 many very indifferent ones; and the Romans had their connoifleurs, as we have 
 ours • who fometimes would diftate to the artift, and cramp the fortunate failles of 
 his genius; force upon him and the world, their own whimfical produdions ; pro- 
 mote ignorant flatterers ; difcouragc, even opprefs, honeft merit. 
 
 Vitruvius, fuppofed to have lived in the Auguftan age, complains loudly of 
 this hardfhip • and there is a remarkable inftance of the vindi&ve fpint of an ancient 
 connoiffeur, in Adrian; who put to death the celebrated Apollodorus, for having 
 ventured a fhrewd remark upon a temple, defigned by that emperor, and built 
 under his direction. 
 
 In the conftruaive part of architecture, the ancients do not feem to have been 
 great proficients. I am inclined to believe, that many of the deformities obfervable 
 in the Grecian buildings, muft be afcribed to their deficiency in that particular: 
 fuchas their gouty columns; their narrow intercolummations ; their dilproportionate 
 architraves; their hypetral temples, which they knew not how to cover; and their 
 J K temples 
 
24 
 
 ORIGIN, and PROGRESS 
 
 temples with a range of columns running in the center, to fupport the roof: contrary 
 to every rule, either of beauty or convenience. 
 
 Neither were the Romans much more fkilful : the precepts of Vitruvius and 
 Pliny on that fubjeft are imperfed, fometimes erroneous ; and the ftrength or duration 
 of their ftruaures, is more owing to the quantity and goodnefs of their materials 
 than to any great art m putting them together. It is not therefore from any of the 
 ancient works, that much information can be obtained in that branch of the art. 
 
 To thofc dually called Gothick architects, we arc indebted for the firfl confi- 
 scable improvements in conftruftion ; there is a lightnefs in their works, an art and 
 boldnels of execution; to which the ancients never arrived: and which the 
 moderns comprehend and imitate with difficulty. England contains many magni- 
 ficent examples of tins fpecies of architedure, equally admirable for the art with 
 which they are built, the lafle and ingenuity with which they arc compofed. 
 
 One cannot refrain from wiflung, that the Gothick nruftures were more 
 conhdered ; better underftood ; and in higher eftimation ; than they hitherto feem 
 to have been. Would our dilettanti inftead of importing the gleanings of Greece ■ 
 or Our antiquaries, inftead of publifhing loofe incoherent prints ; encourage perfons 
 duly qualified to undertake a coned elegant publication of our own cathedrals 
 and other buddings called Gothick, before thev totally fall to ruin; it would be 
 of real feryice to the arts of defign ; preferve the remembrance of an extraordinary 
 Itlle of bin ding now finking faft into oblivion ; and at the fame time publifh to 
 the world the riches of Britain, in the fplendor of her ancient ftruaures. 
 
 Michael Angelo, who fkilled as he was in mathematical knowledge could 
 have no very high opinion of the ancient conftruaion ; boaftcd that he would fufpend 
 the largeft temple of antiquity (meaning the Pantheon) in the air: which he after- 
 wards performed, in the cupola of St. Peter's at Rome. And Sir Chriftopher Wren 
 has conduced all parts of St. Paul's, and many others, his numerous admirable 
 works, with fo much art; that they arc, and ever will be, ftudied and admired by 
 all intelligent obfervers. To him, and to feveral ingenious artifts and artificers fince 
 a ^ OWG many great Im P rovemen ts in carpentry ; which the Englifh have 
 
 eftabhfhed upon better principles, and carried to higher perfection, than any other 
 nation. 
 
 Some of the French architcas have Iikewife been very fkilful in conftruaion 
 1 he maloti s art in particular, has been confiderably improved by that nation And 
 we are indebted to the French, to the Italians, and to a few of our own countrymen, 
 for many valuable books ; * m which the manner of condufting great works is taught ■ 
 the neceilary machines, tools, carriages, and other apparatus defcribed ; together 
 with the properties, modes of preparing, and of employing, all kinds of materials 
 
 Architettura di Andrea Palladio. Architettura Univerfale di 
 VmccnzoScamozz,. Archi. di Sebaftiano Scrliie. Leo. Bap. Al- 
 berts de re Ldihcatoria. Architecture de Philibcrc de Lorme. 
 Secret d Architecture and I'Art de Charpente d'Matheinen Jouflc. 
 Fchbien principes de l'Architedure, &c. La Pratique du trait par 
 Defargues. Bcl.dore Science de Ingenieurs and Areliitcdurc Hv- 
 draubque. Gamier traitc des Fonts ct des Chcrains. Blond'cl 
 
 Cours d'Architecturc. Architecture des Voutcs par Derand De 
 la Rue traitc de la Coupe des Pierres. Evelin's Siha. Wotton's 
 Remains. Zabagha Operc. Price's Britilli Carpenter. Savot 
 Archi. Francoifc. Neve's Builders DidKotMir. Frclicr Coupe des 
 Pierres (with the tranllations in Englilh, French, or Italian of 
 thofe that arc tranllatcd.) And many others of left note 
 
 ufed 
 
of BUILDING. 
 
 25 
 
 ufed in building; They likewife have treated of the nature of foils, and the manner 
 of laying foundations, of raifing fuperftructures, and of every other particular, 
 having relation to the mechanick arts, connected with building. 
 
 * These books, the ftructures abovementioned, and many others to be found 
 in England or elfewhere, are the fehools from which the architect muft colled the 
 rudiments of conftruction ; but practice, experience, and attentive obfervation ; are 
 requifite to render him confummately flailed in this important part of his pro- 
 feffion. 
 
 The architect's aim being, as has been obferved, to erect handfome, ftrong, 
 convenient, falubrious and comfortable edifices; to afcertain their value; and to 
 build them with fafety, eafe, and frugality : the principles of his art may be ranged 
 under four diftinct heads, which are diftribution ; conftruction ; decoration; and 
 economy. 
 
 Of conftruction and decoration, it has been fhown whence his knowledge 
 fhould be collected ; and of diftribution, which comprehends all particulars relative 
 to health, convenience, comfort, pleafure and profit; the artift may collect his 
 general idea, from books or obfervationSj made upon buildings erected for various 
 purpofes, in different climates and ages ; but it is only by practice that he can become 
 expert, in difcovering the advantages, or defects of fituation ; the nature of climates, 
 or expofitions ; the qualities of air, water, foil, and many other things neceffary to 
 be known : and it is only by a thorough acquaintance with the cuftoms, and modes 
 of living of his own times ; and with the difpofitions, amufements, occupations, and 
 duties, of his cotemporaries ; that he can effectually learn, how to fupply their 
 wants, or gratify their wifhes. 
 
 In countries where general cuftom governs moft things, and where all perfons 
 of the fame rank think, act and live, nearly after the fame manner ; the diftributive 
 part of architecture has not fo many difficulties : but wherever that is not the cafe, 
 every new employer opens a frefh field for inveftigation ; and the artift's talk is 
 never at an endi 
 
 The economy of architecture is of fo complicated, fo extcnfive a nature, that 
 it is almoft impoffible for any man to know it perfectly ; much more for an archi- 
 tect, whofe mind muft be loaded with a great variety of other knowledge. When 
 therefore an artift has fixed his abode in any particular country, or great city ; it 
 will be beft, to limit his refearches at firft, to that place alone : informing himfelf 
 of the different quarries, woods, kilns, fea ports or other markets from whence 
 it is fupplied with materials for building ; as alfo of the different natures and degrees 
 of goodnels of thefe materials, the propereft times for providing them, the beft 
 means of tranfporting them to the places of their deftination ; their value ; and upon 
 what circumftances that value depends : to the end that he ma}' be enabled at all 
 times, to account for the fluctuation of price, and to afcertain what they are juftly 
 worth. 
 
 * See note, page 24. 
 
 L 
 
 The 
 
26 
 
 ORIGIN, and PROGRESS, &c. 
 
 The principal difficulty of this enquiry arifes ; not only from the many caufes 
 Upon which the value of things and their rife or fall depends, but from the caution 
 with which dealers and tradefmen of almoft all denominations, conceal the lecrets of 
 their trade; and the real profits they have thereon. 
 
 His next flep muft be to find out, all the able artifts and artificers of the place, 
 and its environs ; to form an acquaintance with them, and examine carefully, in what 
 branches they particularly excel ; how far their fkill extends ; what their difpofitioris, 
 circumftances, and tempers are ; with their characters and connections : that by 
 combining thefe particulars, he may employ their abilities upon every occafion, to 
 moft advantage, as well for them, as for himfelf. 
 
 He muft then make diligent enquiry into the ufual prices allowed for every 
 fort of labour, or workmanfhip ; according to its degree of perfection : how much 
 time and what materials are requifite to produce given quantities thereof ; what 
 profits according to the ufage of the place, arc allowed thereon to the matter work- 
 men ; and in what manner it is meafured, or accounted for when done : that he may 
 be entire matter of his fubject, and enabled to judge equitably between the employer 
 and employed, as his ftation requires. Thefe enquiries will at the firft be attended 
 with confiderable difficulty, for the reafons beforementioned ; but like propofitions 
 in geometrv, one information will facilitate another, and in the courfe of a few 
 years practice, the artift, if he be induftrious, and fkilfully inquifitive ; will have 
 acquired a thorough acquaintance with whatever concerns his own circle : and then 
 he may extend his enquiries to other parts. What is already known, will ferve as 
 a clew to farther knowledge ; and by degrees, he may become a very competent 
 judge of every economical particular, in all the provinces of an extenfive kingdom. 
 
 If in this chapter, or in other parts of the work (for it may be as well to 
 apologize at once, for all) the author has ventured to think for himfelf, and fome- 
 times to ftart opinions, differing from thofe of other men ; he begs leave to fay, 
 that it proceeds not from the affectation of being either lingular, or dogmatical ; 
 but from conviction, that his notions are always founded in reafon, or proved by 
 well attefted facts : and delivered with a wifh to guide the reader right. All that 
 has been faid, relpecting the fuperiorily of the Roman architecture, was written 
 a confiderable time ago, when the Grecian had been extolled into repute ; and 
 ftruftures were erecling in different parts of England, after Attick defigns. Fortu- 
 nately, the fight of thefe firft fpecimens, excited no defires for more : after a few 
 ineffectual ftruggles, the Roman manner obtained a compleat victor}'. There feemed, 
 at that time, no farther neceffity to fight its caufc ; and thefe obfervations, intended 
 for the fecond edition of this work ; were then fuppreffed. But latterly, the Gvjlo 
 Greco, has again ventured to peep forth, and once more, threaten an invafion. What 
 therefore was omitted in the fecond edition, it has been judged neceflarv to infert in 
 this, as a caution to ftragglers. 
 
 Of 
 
[ *7 ] 
 
 Of the Parts which compofe the Orders ^Architecture, 
 
 and of their Properties ', application, and Enrichments. 
 
 AS in many other arts, fo in architecture, there are certain elementary forms \ 
 which, though fimple in their nature, and few in number, are the principal 
 conftituent objects of every compolition ; however complicated or extenfrve 
 it may be. 
 
 Of thefe there are in our art, two diftinct forts ; the firft confuting of fuch 
 parts, as reprefent thofe that were effentially neceffary, in the conftruftion of the 
 primitive huts : as the fhaft of the column, with the plinth of its bafe, and the 
 abacus of its capital ; rcprefenting the upright trees, with the Hones ufed to raife, 
 and to cover them. Likewife the architrave and triglyph, reprefenting the beams 
 and joifls ; the mutules, modillions, and dentils ; either reprefenting the rafters, or 
 fome other pieces of timber, employed to fupport the covering : and the corona, 
 reprefenting the beds of materials, which compofed the covering itlelf. All thefe 
 are properly diftinguifhed by the appellation of effential parts ; and form the firft 
 clafs. The fubfervient members, contrived for the ufe and ornament of thefe ; and 
 intended either to fupport, to flicker, or to unite them gracefully together, which 
 are ulually called mouldings ; conftitute the fecond clafs. 
 
 The effential parts .were, moll probably, the only ones employed, even in the 
 firft ftone buildings ; as may be collected from fome ancient ftructures, yet remaining ; 
 for the architects of thofe early times, had certainly very imperfect ideas of beauty 
 in the productions of art, and therefore contented themfclves, with barely imitating 
 the rude model before them ; but coming in time to compare the works of their 
 own hands, with animal and vegetable productions ; each fpecies of which, is 
 compofed of a great diverfity of forms, affording an inexhauftible fund of amufe- 
 ment to the mind ; they could not but conceive a difguft, at the frequent repetition 
 of fquare figures in their buildings ; and therefore thought of introducing certain 
 intermediate parts; which might fcem to be of fome ufe, and at the fame time 
 be fo formed, as to give a more varied, pleafmg appearance, to the whole compo- 
 lition : and this, in all probability, was the origin of mouldings. 
 
 Of regular mouldings, there are * eight ; which are, the a Ovolo, the b Talon, 
 the c Cyma, the d Cavetto, the c Torus, the f Aftragal, the s Scotia, and the h Fillet. 
 
 The names of thefe are allufive to their forms; and their forms are adapted to 
 the ufes, which they are intended to ferve. The Ovolo and Talon, being ftrong 
 at their extremities, are fit for fupports. The Cyma and Cavetto, though improper 
 for that purpofe, as they are weak in the extreme parts, and terminate in a point ; 
 
 * See plate of regular mouldings. 
 
 ' Ovolo, or Echinus, orquartcr round. c Cyma, cyma recta, Cymatium. ■ Torus or Tore. * Scotia, or Trochilos. 
 
 11 Talon or Ogee, or rcverfed Cyma. * Cavetto, or mouth, or hollow. ' Aftragal, Bead, or Baguette. Fillet, Liftel, Annulet. 
 
 M 
 
 are 
 
28 Of the PARTS which compose 
 
 are well contrived for coverings ; to fhelter other members : the tendency of their 
 outline beino- very oppofite, to the diredion of falling water; which for that reaion, 
 cannot glide along their furface, but muft ncceffarily drop. The Torus and Aftragal, 
 fhaoed like ropes, arc intended to bind and ftrengthen the parts on which they are 
 employed- and the ufe of the Fillet and Scotia, is only to leparate, contraft, and 
 ftrengthen the efTed of other mouldings, to give a graceful turn to the profile, and to 
 prevent that confufion, which would be occalioned by joining feveral convex members 
 together. 
 
 That the inventors of thefe forms, meant to exprefs fomething by their diffe- 
 rent figures, will fcarcely be denied; and that the abovementioned were their 
 deftinations, may be deduced, not only from their figures, but from the practice 
 of the ancients in their moil cfteemed works: for if we examine the Pantheon, the 
 three columns in the Campo Vaccino, the temple of Jupiter Tonans, the fragments 
 of the frontifpiece of Nero, the bafihea of Antoninus, the forum of Nerva, the arches 
 of Titus and Septimus Severus, the theatre of Marcellus; and indeed, almoit every 
 ancient building, either at Rome, or in other parts of Italy and France it will be 
 found, that in all their profiles, the Cyma and the Cavctto are conftantly ufed as 
 EnifhingS and never applied where ftrcngth is required: that the Ovolo and Talon, 
 are always employed as fupporters to the effential members of the compofition; 
 fuch as the modillions, dentils, and corona: that the chief ufe of the Torus and 
 Aftragal is to fortify the tops and bottoms of columns, and fometimes of pedeltals, 
 where they are frequently cut in the form of ropes: as on the Trajan column, in the 
 temple of Concord, and on feveral fragments which I have feen both at Rome, and 
 at Nifmes in Languedoc : and that the Scotia, is employed only to feparate the mem- 
 bers of bafes, for which purpofe the Fillet is likewife ufed, not only in bales, but in 
 all kinds of profiles. 
 
 Hence it may be inferred, that there is fomething pofitive and natural, in thefe 
 primary forms of architecnire ; and confequently in the parts which they compole: 
 and that Palladio erred, in employing the Cavetto under the Corona, in three of his 
 orders • and in making fuch frequent ufe through all his profiles, of the Cyma, as a 
 fupportmg member. Nor has Vignola been more judicious, m fimfhing his Tufcari 
 cornice with an Ovolo ; a moulding, extremely improper for that purpole, and 
 produftive of a verv difagreeable efted : for it gives a mutilated air to the whole 
 profile • fo much the more ftriking, as it refembles exadly that half of the Ionic cor- 
 nice, which is under the Corona. Other architefts have been guilty of the like 
 improprieties, and are therefore equally reprehenfible. 
 
 There are various manners of defcribing the Contour or out-linc, of mould- 
 ings ; the limpleft however, and the bell, is to form them of * quadrants ot circles, 
 as in the annexed defigns : by which means, the different deprefiions and iwellmgs, 
 will be more ftrongly marked; the tranfitions be made, without any angle; and the 
 projeaions be agreeable to the doctrine of Vitruvius, and the practice of the ancients: 
 thofe of the Ovolo, Talon, Cyma, and Cavetto, being equal to their height ; that 
 of the Scotia to one third, and thofe of the curved parts of the Torus and Aftragal, 
 to one half thereof, 
 
 PI. mouldings. 
 
 On 
 
the ORDERS of ARCHITECTURE, &c. 29 
 
 On particular occafions, however, it may be neceflary fometimes to increafe, 
 and at other times to diminifh thefe projections ; according to the fituation, or other 
 circumftances attending the profile : as will hereafter appear. And whenever it fo hap- 
 pens; the Ovolo, Talon, Cyma, and Cavetto; may either be defcribed from the 
 fummits of equilateral triangles, or be compofed of quadrants of the Ellypfis ; of 
 which the latter, mould be preferred ; as it produces a ftrongcr oppofition of light 
 and fiiade, and by that means, marks the forms more diftinftly. The Scotia may 
 likewife be framed of ellyptical portions, or quadrants of the circle ; differing more 
 or lefs from each other, than in the annexed t defigns ; by which means, its pro- 
 jection may either be increafed or diminifhed ; but the curved part of the Torus and 
 Aftragal, muff always be femicircular, and the increafe in their projection, be made 
 by ftraight lines. 
 
 In fome antiques, and likewife in various modern buildings, where the parts 
 are far removed from the eye, or where, from the extraordinary lize of the ftrufture, 
 it has not been practicable to give to every member its due projection, recourfe has 
 been had to artifice, in order to produce the defired effect. At St. Peter's of the 
 Vatican, this practice is very frequent ; and I have given a fcction of the Cornice *, 
 terminating the pendentives of the dome, which ma}' fervc as a guide, in cafes 
 where the like is necelfary. 
 
 It will however be proper to obfervc, that a frequent ufe of this expedient is 
 to be avoided ; as the artifice never fucceeds, but where, by rcafon of the great 
 cliftance, it is undifcoverable : for the incifions and contortions made in the mould- 
 ings, entirely deftroy the natural beauty of their form. 
 
 Certain of the modern Italians, and likewife fome of our own learned Virtuofi, 
 who eagerly grafp at every Innovation ; having obferved thefe forms in the works 
 of Michael Angelo, and in fome of the temples of antiquity, without fufficiently 
 confidering why they were there introduced ; have very injudicioufly made ufe of 
 them, in all their own works ; by which practice, their compofitions, though having 
 in other refpefts, a certain degree of merit ; arc, in this particular, highly cen- 
 furable. 
 
 An afTemblage of effential parts and mouldings, is termed a profile : and on the 
 choice, difpofition, and proportions of thefe, depend the beauty or deformity of the 
 compofition. The moll perfect profiles, are fuch as confift of few mouldings ; va- 
 ried, both in form and fize ; fitly applied, with regard to their ufes ; and fo diftri- 
 buted, that the ftraight and curved ones, fucceed each other alternately. In every 
 profile, there fhould be a predominant member ; to which all the others ought to 
 feem fubfervient : and made, either to fupport, to fortify, or to fhelter it, from 
 injuries of weather: and whenever the profile is confiderable ; or much complicated ; 
 the predominant, mould always be accompanied with one or more other principal 
 members ; in form and dimenfion, calculated to attract the eye ; create momentary 
 paufes ; and affift the perception of the beholder. Thefe predominant and principal 
 members, ought always to be of the effential clafs, and generally reftangular. Thus 
 
 t PI. of Mouldings. 
 
 N 
 
 » PI. Mouldings, fig. 1. 
 
 in. 
 
Of the PARTS which compose 
 
 in a Cornice, the Corona predominates ; the Modillions and Dentils are principals 
 in the compofitions ; the Cyma and Cavetto, cover them ; the Ovolo and Talon, 
 fupport them. 
 
 When Ornaments are employed to decorate a profile, fome of the mouldings 
 fhould always be left plain ; in order to form a proper rcpofe : for when all are en- 
 riched, the figure of the profile is loft in confufion. In an Entablature, the corona 
 fhould not be ornamented ; nor the modillion band ; nor the different fafcias of the 
 architrave: neither fhould the plinths of columns, fillets, nor fcarcely any fquare 
 members be carved. For generally speaking, they are either principal in the compo- 
 fition, or ufed as boundaries to other parts ; in both which cafes, their figures fhould 
 befimple, diftincT; and unembarrafled. The Dentil Band fhould remain uncut, where 
 the Ovolo and Talon immediately above and below it are enriched ; as in the Pantheon 
 at Rome, and at St. Paul's in London. For when the Dentils are marked ; particu- 
 larly if they be fmall, according to Palladio's Corinthian defign ; the three members 
 are confounded together, and being covered with ornaments, become far too rich, 
 for the remainder of the compofition : which are defefts, at all times, ftudioufly to 
 be avoided : as a distinct outline, and an equal diftribution of enrichments ; muft on 
 every occafion, ftrictly be attended to. 
 
 Scamozzi obferves, that ornaments fhould neither be too frugally employed, 
 nor distributed with too much profusion ; their value will increafe, in proportion to 
 the judgment and difcretion fhewn in their application. For, in effect, fays he, the 
 ornaments of fculpture ufed in architecture, are like diamonds in a female drefs ; with 
 which it would be abfurd to cover the face, or other principal parts, either in them- 
 felvcs beautiful, or appearing with greater propriety, in their natural ftate. 
 
 Variety in ornaments, muft not be carried to an excefs. In architecture they are 
 only acceffories ; and therefore they fhould not be too striking, nor capable of long 
 detaining the attention from the main object. Thofe of the mouldings in particular, 
 fhould be fimple, uniform, and never compofed of more than two different repre- 
 fentations upon each moulding : which ought to be cut equally deep ; be formed of the 
 fame number of parts ; all nearly of the fame dimenfions ; in order to produce one 
 even uninterrupted hue throughout ; that fo the eye may not be more ftsongly at- 
 tracted, by any particular part, than by the whole compofition. 
 
 WHEN mouldings of the fame form and fize, are employed in one profile, they 
 fhould be enriched with the fame kind of ornaments ; by which means, the figure 
 of the profile will be better apprehended ; and the artift will avoid the imputation 
 of a puerile minuteness, neither much to his own credit, nor of any advantage to 
 his works. 
 
 It must be obferved, that all ornaments of mouldings, are to be regularly dif- 
 pofed, answering perpendicularly above each other ; as at the three columns in the 
 Campo Vaccino : where the middles of the modillions, dentils, eggs, and other or- 
 naments, are all in one perpendicular line. For, nothing is more careless, confufed 
 and unfeemly ; than to diftribute them without any order : as they are in many of 
 the antiques, and in molt of the buildings of this metropolis : the middle of an egg 
 anfwers in fome places to the edge of a dentil, in fome to its middle, and in others 
 
 to 
 
the ORDERS of ARCHITECTURE, &c. 31 
 
 to the interval; all the reft of the ornaments being diftributed in the fame flovenly, 
 artlefs manner. The larger parts muft regulate the fmaller; all the ornaments in the 
 entablature are to be governed by the modillions, or mutules ; and the diflribution 
 of thefe, mult depend on the intervals of the columns ; and be fo difpofed, that one 
 of them, may come directly over the axis of each column. It is farther to be obferved, 
 that the ornaments muft partake of the character of the order they enrich ; thole 
 ufed in the Doric and Ionic orders, are to be of fimpler forms, and of larger bulk, 
 than thofe employed in the Compofite or Corinthian. 
 
 When Frizes or other large members are to be enriched, the ornaments may 
 be fignificant; and ferve to indicate the deftination or ufe of the building, the rank, 
 qualities, profeffion and achievements of the owner : but it is a foolifh practice to 
 croud every part with arms, crefls, cyphers, and mottos ; for the figures of thefe 
 things are generally bad, or vulgar ; and their introduction betrays an unbecoming 
 vanity, in the matter of the fabrick : Hogarth has humoroufly ridiculed this practice, 
 by decorating a nobleman's crutch, with a coronet. 
 
 In facred places all obfeene, grotefque, and heathenifh reprefentations ought 
 to be avoided : for indecent fables, extravagant conceits, or inftrumcnts and fymbols 
 of Pagan worfhip, are very improper ornaments in ftructurcs confecrated to chriftian 
 devotion. 
 
 With regard to the manner of executing ornaments, it is to be remembered, 
 that as in fculpture a drapery is not eitimable, unlefs its folds are contrived to grace 
 and indicate the parts and articulations of the body it covers ; fo in architecture the 
 molt exquifite ornaments lofe all their value, if they load, alter, or confute the form 
 they arc defigned to enrich and adorn. 
 
 All ornaments of mouldings muft therefore be cut into the folid, and never 
 be applied on their furface, as Daviliere erroncoufly teaches : becaufe it alters both 
 their figure and proportion. The profile mult firft be finifhed plain, and afterwards 
 be adorned; the moft prominent parts of the ornaments, being made equal with the 
 furface of the mouldings they enrich : and great care muft be taken that the angles, 
 or breaks, be kept perfect and untouched with fculpture; for which reafon it is 
 cuftomary at the angles of moft mouldings, to place water leaves, or other plain 
 leaves, the middle filament of which forms the angle, and keeps its outline entire. 
 
 The method of the ancient fculptors, in the execution of architectonic orna- 
 ments, was, to aim at a perfect reprefentation of the object; they chofe to imitate ; 
 fo that the chefnuts, acorns, or eggs, with which the ovolo is commonly enriched, 
 are in the antiques, cut round, and almoft entirely detached ; as are likewife the 
 berries, or beads on the aftragal : which are generally as much hollowed into the 
 folid of the body, as the moulding projects beyond it : but the leaves, fhells, and 
 flowers, that adorn the Cavetto, Cyma, Talon, and Torus, are kept flat, like the 
 things they reprefent. 
 
 In the application of their ornaments, they obferved to ufe fuch as required a 
 confiderable relief, on mouldings that in themfelves are clumfy, as the Ovolo and 
 Aftragal : which by means of the deep incifions made in them to form thefe enrich- 
 
 O ments, 
 
3 2 
 
 Of the ORDERS of 
 
 ments acquired an extraordinary lightnefs: but on more elegant parts, as the Cavetto, 
 and Cyma, they employed thin bodies, which could be reprefented without entering 
 too far into the folid. The ornaments of their Cornices were boldly marked, that 
 they might be diftinguifhed from afar ; but thofe of the Bafes of Columns, or of 
 Pedcflals being nearer the eye, were more flightly expreffed ; as well on that account, 
 as becaufe it would have been improper to weaken thefe parts, and impoffiblc to 
 keep them clean, had there been any deep cavities in them, to harbour duft and 
 filth. 
 
 When objects arc near, and liable to clofc infpection, every part of the 
 ornament fhould be expreffed, and well finifhed : but when they are much exalted, 
 the detail may be flightly touched, or entirely neglecled ; for it is fufficient if the 
 general form be diftinct, and the principal maffes ftrongly marked. A few rough 
 ftrokes from the hand of a fkilful maftcr, arc much more effectual, than the mofl 
 elaborate finifhings of an artlefs imitator : which feldom confifting in more than 
 fmoothing and neatly rounding off the parts, are calculated to deftroy, rather than 
 to produce effect. 
 
 Of the Orders of Architecture in general. 
 
 T~~ l~~^HE Orders of Architecture, as has been obferved, are the bafis upon which the 
 I whole decorative part of the art is chiefly built, and towards which the atten- 
 tion of the artift mult ever be directed, even where no orders are introduced. 
 In them, originate moft of the forms ufed in decoration ; they regulate moft of the 
 proportions ; and to their combination multiplied, varied, and arranged in a thou- 
 fand different ways, architecture is indebted, for its moft fplendid productions. 
 
 These orders, are different modes of building, faid, originally to have been 
 imitated from the primitive huts ; being compofed of fuch parts as were effential 
 in their conftruction, and afterwards alfo in the temples of antiquity ; which, 
 though at firft fimple and rude, were in the courfe of time, and by the ingenuity 
 of fucceeding architects, wrought up and improved, to fuch a pitch of perfection, 
 that they were by way of excellence diftinguifhed by the name of orders. 
 
 Of thefe there are five*: three faid to be of Grecian origin, are called Grecian 
 orders ; being diftinguifhed by the names of Doric, Ionic, and Corinthian : they 
 exhibit three diftinct characters of compofition ; fuppofed to have been fuggefted, 
 by the diverfity of character in the human frame. The remaining two being of 
 Italian origin, arc called Latin orders ; they are diftinguifhed by the names of Tufcan 
 and Roman, and were probably invented with a view of extending the characte- 
 riftic bounds, on one fide, ftill farther towards ftrength and fimplicity ; as on the 
 other, towards elegance and profufion of enrichments. 
 
 At what time the orders were invented, or by whom improved to the utmolt, 
 remains at leaft, doubtful. Of their improvement we can now only judge, from the 
 
 • PI. Orders. 
 
 Itructures 
 
34 
 
 Of the ORDERS of 
 
 Of the two Latin orders, the Tufcan is faid to have been invented by the 
 inhabitants of Tufcany, before the Romans had intercourfe with the Greeks ; of 
 were acquainted with their arts : whence, it is called Tufcan. Probably however, 
 thefc people, originally a colony of Greeks; only imitated in the beft manner they 
 could what they remembered in their own country : Amplifying the Dorick, either 
 to expedite their work, or perhaps to adapt it to the abilities of their workmen. 
 
 The fecond Latin order, though of Roman production, is but of modern 
 adoption; the ancients never having confidered it as a diftmfcl order. It is a 
 mixture of the Ionick and Corinthian, and is now diftingmfhcd by the names ol 
 Roman, or Compofite. 
 
 The ingenuity of man, has hitherto, not been able to produce a fixth order: 
 though large premiums have been offered, and numerous attempts been made, by 
 men of firft rate talents, to accomplifh it. Such is the fettered human imagination, 
 fuch the fcanty (lore of its ideas, that Dorick, Ionic, and Corinthian, have ever 
 floated uppermoft ; and all that has ever been produced, amounts to nothing more, 
 than different arrangements and combinations of their parts, with fome trifling de- 
 viations, fcarcely deferving notice ; the whole generally tending more to dirninifh, 
 than to increafe the beaut}- of the ancient orders. 
 
 The * fubftitution of cocks, owls, or lions heads, &c. for rofes ; of trophies, 
 cornucopias, lilies, fphinxes, or even men, women, and children, for volutes ; the 
 introdudion of feathers, lyres, flower de luces, or coronets, for leaves ; arc more 
 alterations, than improvements ; and the fufpenfion of fcftoons of flowers, or collars 
 of knighthood, over the other enrichments of a capital ; like lace on embroidery : 
 rather °tends to complicate and confufe the form, than to augment its grace, or 
 contribute to its excellence. 
 
 The fuppreflion of parts of the ancient orders, with a view to produce novelty; 
 has of late years, been praftifed among us, with full as little fuccefs. And though 
 it is not wifhed to reftrain fallics of imagination, nor to difcourage genius from 
 attepmting ot invent; yet it is apprehended, that attempts to alter the primary forms 
 invented by the ancients; and eftabliflied, by the concurring approbation of many ages, 
 muft ever be attended with dangerous confequences ; muff always be difficult ; and 
 feldom, if ever fuccefsful. It is like coining words ; which, whatever may be then- 
 value, are at firft but ill received ; and muft have the fanftion of time, to fecure them 
 a current reception. 
 
 An order, is compofed of + two principal members ; the Column, and the 
 Entablature : each of which is divided into % three principal parts. Thofe of the 
 column, are the bafe, the fhaft, and the capital. Thofe of the entablature, are the 
 architrave, the frize, and the cornice. All thefe are again fubdivided into many 
 fmaller parts ; the difpofition, number, forms and dimenlions of which, characterize 
 each order ; and exprefs the degree of ftrength or delicacy, richnefs or fimplicity, 
 peculiar to it. 
 
 • PI. Compofite Entablatures and Capitals. + PI. of Primitive Buildings. % Ibid. 
 
 The 
 
ARCHITECTURE in general. 33 
 
 ftruftures and fragments of antiquity, built in different ages, and ftill remaining to 
 be feen in various parts of Europe, Afia, and Africa. And of their origin little is 
 known but from the relation of Vitruvius ; the veracity of which, has been much 
 queftioned, and is probably not much to be depended upon. 
 
 " Dorus, fays he, fon of Helenes and the nymph Optica, king of Achaia and 
 " of all the Peloponnefus ; having formerly built a temple to Juno, in the ancient city 
 " of Argos ; this temple, happened to be in the manner which is called Doric]/; 
 " and was afterwards imitated in many others, built in the fcveral cities of Achaia. 
 
 " About the fame time the Athenians, after having confulted the oracle of 
 " Apollo at Delphos, by the common confent of all Greece, fent into Afia thirteen 
 " colonies; each, under the command of a feparate captain : but all, under the general 
 " direftionoflon, fon of Xuthus and Creufa. Ion being arrived in Afia, conquered 
 " all Caria, and founded thirteen large cities; the inhabitants whereof, having cx- 
 " pelled the Carians and Leleges, called the country Ionia ; in honour of Ion their 
 leader : and ereded temples, of which the firft, dedicated to Apollo Panionius, 
 " was built after the manner of thofc they had feen in Achaia. which they called' 
 " Donck ; becaufe temples of the fame fort, had been eroded in the cities of the 
 " Dorians. 
 
 " But fome time after, building a temple to Diana, different from thefe, and 
 " of a more delicate ftrufture ; being formed upon the proportions of a female body, 
 ' as the Dorick had been on thofe of a robuft man ; and adorning the capitals of 
 ' their columns with volutes, to reprefent the curls of a woman's hair; and the fhafts 
 ' with fiutings, to exprefs the folds of her garment; they gave to this fecond 
 ' manner of building the name oflonick; becaufe it was invented and firft ufed 
 ' by the Ionians. 
 
 " The third fort of columns, which are called Corinthian ; and reprefent the 
 ' delicate figure of a young girl, owe their birth to the following accident. 
 
 * " A young woman of Corinth being dead, her nurfe placed on her tomb a 
 
 ' bafket, containing certain trinkets in which fhe delighted when alive ; covering 
 
 ' it with a tile, to fhelter them from the weather. The bafket happened accident- 
 
 ' ally to be fet on a root of the acanthus, which pufhing forth its leaves and fprigs 
 
 ' in the fpring, covered the fides of it ; and fome of them, longer than the reft 
 
 '■ being obftruded by the angles of the tile, were forced downwards; and by 
 
 ' degrees, curled into the form of volutes. 
 
 " Callimachus, a celebrated fculptor, palling near the tomb, obferved the 
 bafket ; and in how graceful a manner the leaves of the acanthus had furrouncled 
 it : the form pleafed him exceedingly, he imitated it on the tops of fome columns, 
 which he afterwards executed at Corinth; eftablifhing and regulating, by this 
 model, the manner and proportions of the Corinthian order." 
 
 Pi. Primitive Buildin 
 
 Of 
 
34 
 
 Of the ORDERS of 
 
 Of the two Latin orders, the Tufcan is faid to have been invented by the 
 inhabitants of Tufcany, before the Romans had intercourfe with the Greeks ; or 
 were acquainted with their arts : whence, it is called Tufcan. Probably however, 
 thefe people, originally a colony of Greeks; only imitated in the belt manner they 
 could, what they remembered in their own country : Amplifying the Dorick, either 
 to expedite their work, or perhaps to adapt it to the abilities of their workmen. 
 
 The fecond Latin order, though of Roman production, is but of modem 
 adoption; the ancients never having confidercd it as a diftincl order. It is a 
 mixture of the Ionick and Corinthian, and is now diftinguifhed by the names of 
 Roman, or Compofitc. 
 
 The ingenuity of man, has hitherto, not been able to produce a fixth order : 
 though large premiums have been offered, and numerous attempts been made, by 
 men of firft rate talents, to accomplifh it. Such is the fettered human imagination, 
 fuch the {canty ftore of its ideas, that Dorick, Ionic, and Corinthian, have ever 
 floated uppcrmoft ; and all that has ever been produced, amounts to nothing more, 
 than different arrangements and combinations of their parts, with fome trifling de- 
 viations, fcarcely delerving notice ; the whole generally tending more to diminifh, 
 than to increafe the beauty of the ancient orders. 
 
 The * fubftitution of cocks, owls, or lions heads, &c. for rofes ; of trophies, 
 cornucopias, lilies, fphinxes, or even men, women, and children, for volutes ; the 
 introduction of feathers, lyres, flower de luces, or coronets, for leaves ; are more 
 alterations, than improvements ; and the fufpenfion of fefloons of flowers, or collars 
 of knighthood, over the other enrichments of a capital ; like lace on embroidery : 
 rather tends to complicate and confufe the form, than to augment its grace, or 
 contribute to its excellence. 
 
 The fuppreffion of parts of the ancient orders, with a view to produce novelty; 
 has of late years, been practifed among us, with full as little fuccefs. And though 
 it is not wifhed to reftrain {allies of imagination, nor to difcourage genius from 
 attepmting ot invent; yet it is apprehended, that attempts to alter the primary forms 
 invented by the ancient's; and eftablifhcd, by the concurring approbation of many ages, 
 muft ever be attended with dangerous confequences ; muft always be difficult ; and 
 feldom, if ever fucccfsful. It is like coining words ; which, whatever may be their 
 value, are at firft but ill received ; and muft have the fanction of time, to fecure them 
 a current reception. 
 
 An order, is compofed of t two principal members ; the Column, and the 
 Entablature : each of which is divided into J three principal parts. Thofe of the 
 column, are the bafe, the fhaft, and the capital. Thole of the entablature, arc the 
 architrave, the frize, and the cornice. All thefe are again fubdivided into many 
 fmaller parts ; the difpofition, number, forms and dimenfions of which, characterize 
 each order ; and exprefs the degree of ftrength or delicacy, richnefs or fimplicity, 
 peculiar to it. 
 
 • PI. Compofitc Entablatures and Capitals. + PI. of Primitive Buildings. i Ibid. 
 
 The 
 
ARCHITECTURE in general. 35 
 
 The fimpleft and molt folid of all, is the * Tufcan. It is compofed of few 
 and large parts, devoid of ornaments, and is of a conftruclion fo maflive, that it 
 feems capable of fupporting the heavieft burdens ; whence it is by Sir H. Wotton, 
 compared to a fturdy labourer, dreffed in homely apparel. 
 
 The Doric order+, next in ftrength to the Tufcan ; and of a grave, robuft, 
 mafculine afpeft; is by Scamozzi, called the Herculean. Being the molt ancient of 
 all the orders, it retains more of the j ftrufture of the primitive huts in its form, 
 than any of the reft ; having triglyphs in the frizc, to reprefent the ends of joilts ; 
 and mutules in its cornice, to reprefent rafters, with inclined foffits, to cxprefs their 
 direction in the originals, from which they were imitated. Its column too, is often 
 feen in ancient works, executed without a bafe, in imitation of the trees, ufed in 
 the firft buildings, without any plinths to raife them above the ground. Freart de 
 Chambrai fpeaking of this order, obferves, that delicate ornaments are repugnant 
 to its chara&eriftic folidity ; and that it fucceeds bell, in the fimple regularity of its 
 proportions: " nofegays and gai lands of flowers, fays he, grace not a Hercules, who 
 " always appears more becomingly, with a rough club and lion's fkin. For there are 
 " beauties of various forts, and often fo diffimilar in their natures, that thofe which 
 " may be highly proper on one occa.'ion, may be quite the reverfe, even ridiculoufly 
 " abfurd, on others." 
 
 The Ionic§, being the fecond of the Grecian orders, holds a middle ftation 
 between the other two ; and ftands in equipoife between the grave folidity of the 
 Doric, and the elegant delicacy of the Corinthian. Among the antiques however, 
 we find it in different dreffes ; fometimes plentifully adorned, and inclining moft 
 towards the Corinthian ; fometimes more fimple, and bordering on Dorick plainnefs ; 
 all according to the fancy of the architect, or nature of the ftructure where employ- 
 ed. It is throughout, of a more flender conftruclion than either of the afore-defcribed 
 orders; its appearance, though fimple, is graceful and majeflic ; its ornaments 
 fhould be few; rather neat than luxuriant; and as there ought to be nothing 
 exaggerated, or affectedly ftriking in any of its parts, it is (not unaptly) compared 
 to a fedate matron, rather in decent than magnificent attire. 
 
 The Corinthian||, fays Sir Henry Wotton, is a column lafcivioufly decked, 
 like a wanton courtezan. Its proportions are elegant in the extreme ; every part of 
 the order is divided into a great variety of members ; and abundantly enriched with 
 a diverfity of ornaments. " The ancients, fays De Chambray, aiming at the repre- 
 " fentation of a feminine beauty, omitted nothing, either calculated to cmbellifh, 
 " or capable of perfecting their work." And he obferves, " that in the many exam- 
 " pies left of this order, fuch a profufion of different ornaments is introduced, that 
 " they feem to have exhaufted imagination, in the contrivance of decorations for 
 " this maftcr-piece of the art. Scamozzi calls it the Virginal ; and it certainly has all 
 " the delicacy in its form, with all the gaiety, gaudinels, and affectation in its drel's, 
 " peculiar to young women." 
 
 • PI. of Orders. f PI. of Orders. J PI. Primitive Buildings. § PI. of Orders. || PI. of Orders. 
 
 Q 
 
 The 
 
3 6 
 
 Of the ORDERS op 
 
 The Compofite order*, being properly fpeaking, only a different fpecies of 
 the Corinthian, diflinguifhed from it merely by fome peculiarities in the capital, or 
 other trifling deviations ; retains in a great meafure the fame character, and requires 
 no particular defcription. 
 
 To give a ftriking idea of thefe different properties, and to render the compa- 
 rifon between the orders more eafy, I have reprefented t them all of the fame 
 height ; by which means the gradual incrcafc of delicacy and richnefs, is eafily 
 perceivable ; as are like-wife the relations between the intercolumniations of the 
 different orders, and the proportions which their pedeftals, impofls, archivolts, and 
 other parts, with which they are on various occafions accompanied ; bear to each 
 other. 
 
 The proportions of the orders were, by the ancients, formed on thofe of the 
 human body ; and confequently, it could not be their intention, to make a Corinthian 
 column (which as Vitruvius obferves, is to reprefent the delicacy of a young girl), 
 as thick and much taller, than a Doric one ; which is defigned to reprefent the bulk 
 and vigour of a mufcular full grown man : columns fo formed, could not be applied 
 to accompany each other, without violating the laws, both of real and apparent 
 folidity ; as in fuch cafe, the Doric dwarf, muft be crufhed under the {trapping 
 Ionic, or gigantick Corinthian virago ; triumphantly riding uppcrmoft : and reverf- 
 ing the natural, the neceffary, predominance in the compolition. 
 
 Nevertheless Vignola, Palladio, Scamozzi, Blondel, Perrault, and many 
 others, if not all, the great modern artifts ; have confidered them in this light : that is, 
 they have made the diameters of all their orders the fame, and confequently their 
 heights increafmg : which, befides giving a wrong idea of the character of thefe 
 different compofitions, has laid a foundation for many erroneous precepts, and falfe 
 reafonings, to be found in different parts of their works ; of which, notice will in 
 due time be taken. 
 
 In the opinion of Scamozzi, columns mould not be lefs than feven cf their 
 diameters in height, nor more than ten ; the former being according to him, a good 
 proportion in the Tufcan ; and the latter in the Corinthian order. The practice of 
 the ancients in their beft works, being conformable to this precept ; I have, as 
 authorifed by the doctrine of Vitruvius, made the Tufcan column feven diameters 
 in height, and the Doric eight ; the Ionic nine, as Palladio and Vignola have done ; 
 and the Corinthian and Compofite ten : which laft meafure, is a mean between the 
 proportions obferved in the Pantheon, and at the three columns in Camp Vaccino; 
 both which, are clteemed moft excellent models of the Corinthian order. 
 
 The height of the entablature, in all the orders, I have made one quarter 
 of the height of the column ; which was the common practice of the ancients ; 
 who, in all forts of entablatures, feldom exceeded or fell much fhort, of that mea- 
 fure. 
 
 * PI. Orders. t PL Orders. 
 
 Nevertheless 
 
ARCHITECTURE in general. 
 
 Nevertheless Palladio, Scatnozzi, Alberti, Barbaro, Cataneo, De l'Orrne, 
 and others of the modern architects ; have made their entablatures much lower in 
 the Ionic, Compolite, and Corinthian orders, than in the Tufcan or Doric. This, 
 on fome occafions, may not only be cxcufable but highly proper; particularly 
 where the intercolumniations are wide, (as in a lecond or third order ;) in private 
 houies, or inlide decorations ; where lightnefs fliould be preferred to dignity, and 
 where expence, with every impediment to the conveniency of the fabrick, arc 
 carefully to be avoided: but to fet entirely afide a proportion, which fecms to have 
 had the general approbation of the ancient artifts, is furely prcfuming too far. 
 
 The realon allcdged, in favour of this practice, is the weaknefs of the columns 
 in the delicate orders ; which renders them unfit for fupporting heavy burdens. And 
 where the intervals are fixed, as in a fecond order ; or in other places, where wide 
 intercolumniations are either neccflary, or not to be avoided ; the reafon is certainly 
 fufheient : but, if the artift is at liberty to dilpofc his columns at plcafure, the lim- 
 pleft and moft natural way of conquering the difficulty, is to employ more columns : 
 by placing them nearer to each other, as was the cuftom of the ancients. And it 
 mult be remembered, that though the height of the entablature in a delicate order, 
 is made the lame as in a maffivc one ; yet it will not, either in reality or in appear- 
 ance, be equally heavy* ; for the quantity of matter in the Corinthian cornice A, 
 is confiderably lefs than in the Tufcan cornice B ; and the increafed number of parts 
 compofing the former of thefe, will of courfe make it appear far lighter, than the 
 latter. 
 
 With regard to the parts of the entablature, I have followed the method of 
 Serlio, in his Ionic and Corinthian orders ; and of Perrault, who, in all his orders, 
 excepting the Doric, divides the whole height of the entablature into ten equal parts : 
 three of which he gives to the architrave, three to the fri/.c, four to the cornice. 
 And in the Doric order, he divides the whole height of the entablature into eight 
 parts ; of which two are given to the architrave, three to the frize, and three to 
 the cornice. 
 
 These meafures, deviate very little from thofe obferved in the greateft number 
 of antiques now extant at Rome ; where they have flood the teft of many ages. And 
 their fimplicity, renders them Angularly ufeful in coinpofition, as they are eafily 
 remembered, and eafily applied. 
 
 Of two manners ufed by architects, to determine the dimenfions of the moul- 
 dings, and the lefler parts that compofe an order, I have chofen the fimplefl ; 
 readieft and moft accurate ; which is by the module, or femi-diameter of the 
 column, taken at the bottom of the fhaft : and divided into thirty minutes. 
 
 There are indeed many, who prefer the method of mcafuring by equal parts ; 
 imagining beauty to depend, on the fimplicity and accuracy of the relations, exifting 
 between the whole body, and its members : and alledging, that dimenfions, which 
 
 • Fig. a, Plate of Mouldings. 
 
 R 
 
 have 
 
38 Of the ORDERS of 
 
 have evident affinities, arc better remembered than thofe, whofe relations are too 
 complicated to be immediately apprehended. 
 
 W ITH regard to the former of thefe fuppofitions, it is evidently falfe : for the 
 real relations, fubfifting between diffimilar figures, have no connection with the 
 apparent ones. And with regard to the latter, it may or may not be the cafe, 
 according to the degree of accuracy with which the partition is made. For inftance,' 
 in dividing the Attick bafe, (which may be numbered among the Gmpleft compofi- 
 tions in architecture) according to the different methods ; it appears to me as eafy, to 
 recollea the numbers 10, % 1, 41, 1, gj. as to remember that the whole height 
 of the bafe, is to be divided into three equal parts, that two of thefe three, are to be 
 divided into four ; that three of the four, are to be divided into two ; and that one of 
 the two, is to be divided into fix ; which are to be divided into three. 
 
 But, admitting it were ealicr to remember the one than the other ; it doth 
 not feem necefifary, nor even advifable, in a feience where a vaft diverfity of know- 
 ledge is required, to burden the memory with a thoufand trifling dimenfions. If 
 the general proportions be known, it is all that is requifite in compofing; and when 
 a defign is to be executed, it is eafy to have reccurfe to figured drawings, or to 
 prints. The ufe of the module is univerfal; throughout the order and all its 
 appurtenances ; it mavks their relations to each other, and being fufceptible of the 
 minuteft divifions, the dimenfions may be fpcedily determined with the utmoft 
 accuracy; while the trouble, confufion, uncertainty, and lofs of time, in nieafuring 
 by equal parts, are very confiderable ; feeing it is neceffary to form almoft as many 
 different fcalcs, as there are different parts to be divided. 
 
 Columns, in imitation of trees, from which they drew their origin; are 
 tapered in their fhafts. In the antiques, the diminution is varioufiy performed; 
 fometimes beginning from the foot of the (haft, at others from one quarter, or one 
 third of its height ; the lower part being left perfeftly cylindrical. The former of 
 thefe methods was moft in ufe amongfl the ancients, and being the moft natural, 
 feems to claim the preference ; though the latter has been almoft univerfally praaifed 
 by modern artifts : from a fuppofition, perhaps, of its being more graceful : as it is 
 marked and ftrikingly perceptible. 
 
 more 
 
 _ The firft arcliitcds, fays Monf. Auzoult, probably made their columns in 
 ftraight lines, in imitation of trees ; fo that their ftiaft was a fruftrum of the cone : 
 but finding this form abrupt and difagreeable, they made ufe of fome curve, which, 
 fpnngmg from the extremities of the fuperior and inferior diameters of the column,' 
 fwelled beyond the fides of the cone, and by that means gave a more pleafing figure 
 to the outline. Vitruvius, in the fecond chapter of his third book, mentions this 
 praftice ; but in fo obfeure and curfory a manner, that his meaning has not been 
 underftood ; and feveral of the modern architcas, intending to conform themfelves 
 to his doctrine, have made the diameters of their columns greater in the middle 
 than at the foot of the fhaft. Leon Baptifta Alberti, with others of the Floren- 
 tine and Roman architects, carried this pradice to a very abfurd excefs ; for 
 which they have been juftly blamed: as it is neither natural, reafonable' nor 
 beautiful. 
 
 Monsieur 
 
ARCHITECTURE in general. 
 
 Monsieur Auzoult farther obfcrves, that a column, fuppofing its fliaft to be 
 the fruftrum of a cone, may have an additional thicknefs in the middle, without 
 being fwelled there, beyond the bulk of its inferior parts ; and fuppofes the addition 
 mentioned by Vitruvius, to fignify nothing more, than the increafe towards the 
 middle of the column, occafioned by changing the ftraight line, which at firft was 
 jn ufe, into a curve. 
 
 This fuppofition, is exceedingly juft ; and founded on what is obfervable in 
 the works of antiquity ; where there is no fmglc inftance of a column thicker in the 
 middle, than at the bottom, though all, or moll of them, have the fwelling hinted at 
 by Vitruvius, all of them being terminated by curves ; fome few granite columns 
 excepted, which arc bounded by ftraight lines : a proof, perhaps, of their anti- 
 quity ; or of their having been wrought in the quarries of Egypt, by unfkilful 
 workmen. 
 
 Blondel in his book entitled Refolution des quatrc principanx Problemcs d'Archi- 
 leHure, teaches various manners of diminifhing columns ; the beft and fimpleft of 
 which, is by means of the inftrumcnt invented by Nicomcdes, to defcribe the firft 
 conchoid: lor this, being applied at the bottom of the fliaft, performs at one fweep, 
 both the fwelling and the diminution ; giving fuch a graceful form to the column, 
 that it is UfliverTally allowed to be the moft perfeel practice hitherto difcovered. 
 The columns in the Pantheon, accounted the moft beautiful among the antiques, 
 are traced in this manner ; as appears by the cxacf meafurcs of one of them, to be 
 found in Defgodetz's antiquities of Rome. 
 
 To give an accurate idea of the operation, it will be neccflary firft to defcribe 
 Vignola's method of diminution, on which it is grounded. " As to this fecond 
 " method, fays Vignola, it is a difcovery of my own ; and although it be lefs 
 " known than the former, it will be eafily comprehended by the figure. Having 
 " therefore determined the meafures of your column, (that is to fa) - , the height of 
 " the fhaft, and its inferior and fuperior diameters), * draw a line indefinitely from 
 " C through D, perpendicular to the axis of the column :" this done, fet off the 
 cliftance C D, which is the inferior femi-diameter, from A, the extreme point of 
 the fuperior femi-diameter ; to B, a point in the axis. Then from A, through B, 
 draw the line ABE, which will cut the indefinite line C D in E ; and from this 
 point of interferon E, draw through the axis of the column any number of rays, 
 as E b a, on each of which,' from the axis towards the circumference, fetting off the 
 interval C D, you may find any number of points a, a, a, through which if a curve 
 be drawn, it will defcribe the fwelling and diminution of the column. 
 
 Though this method be fufficiently accurate for pradtice, efpecially if a confi- 
 derable number of points be found, yet, ftriertly fpeaking, it is defective ; as the 
 curve muft either be drawn by hand, or by applying a flexible ruler to all the points ; 
 both which are liable to variations. Blondel therefore, to obviate this objection, 
 (after having proved the curve paffing from A to C through the points a, a, to be 
 
 * Fig. 3, PI. of Mouldings. 
 
 s 
 
 of 
 
4° 
 
 Of the ORDERS of 
 
 of the fame nature with the firft conchoid of the ancients), employed the inftrument 
 of Nicomedes to defcribe it ; the conftruction of which is as follows. 
 
 Having determined, as above, the length of the fhaft, with the inferior and 
 fuperior diameters of the column, and having likewife found the length of the line 
 C D E; take three rulers, either of wood or metal, as F G, I D, and A H; of 
 which let F G and I D be faftened together at right angles in G. Cut a dove-tail 
 groove in the middle of F G, from top to bottom ; and at the point E on the ruler 
 I D, (whofe diftance, from the middle of the groove in F G, is the fame as that of 
 the point of interfcclion from the axis of the column), fix a pin; then on the ruler 
 A H fct off the diftance A B, equal to C D the inferior femi-diamcter of the column, 
 and at the point B fix a button, whofe head mult be exactly fitted to the groove 
 made in F G, in which it is to Aide; and, at the other extremity of the ruler A H, 
 cut a flit or channel from H to K, whofe length mult not be lefs than the difference 
 of length between E B and E D, and whofe breadth muft be fuflicient to admit the 
 pin fixed at E, which muft pafs through the flit, that the ruler may Hide thereon. 
 
 The inftrument being thus compleatcd ; if the middle of the groove, in the 
 ruler F G, be placed exactly over the axis of the column, it is evident that the ruler 
 A H, in moving along the groove, will with its extremity A, defcribe the curve 
 A a a C ; which curve is the fame as that produced by Vignola's method of diminu- 
 tion ; fuppofing it done with the utmoft accuracy : for the interval A B, a b, is 
 always the fame : and the point E, is the origin of an infinity of lines, of which the 
 parts B A, b a, b a, extending from the axis to the circumference, are equal to 
 each other, and to D C. And if the rulers be of an indefinite lize, and the pins at 
 E and B be made to move along their refpective ruler, fo that the intervals A B and 
 D E may be augmented or diminifhed at pleafure, it is likewife evident, that the 
 fame inftrument may be thus applied to columns of any fize. 
 
 In the remains of antiquity, the quantity of the diminution is various ; but 
 fcldom lefs than one eighth of the inferior diameter of the column : nor more than 
 one fixth of it. The laft of thefe is by Vitruvius, eflecmed the molt perfeft ; and 
 Vignola has employed it in four of his orders, as I have done in all of them: there 
 being no reafon for diminifhing the Tufcan column more, in proportion to its dia- 
 meter, than any of the reft ; though it be the doctrine of Vitruvius, and the practice 
 of Palladio, Vignola, Scamozzi, and almcft all the modern architects. On the 
 contrary, as Monfieur Perrault juftly obferves, its diminution ought rather to be 
 lefs than more ; as it actually is in the Trajan column, being there only one ninth 
 of the diameter. For even when the fame proportion is obferved through all the 
 orders ; the abfolute quantity of the diminution in the Tufcan order, fuppofing the 
 columns of the fame height, exceeds that in the Corinthian, in the ratio of ten to 
 feven ; and if, according to the common practice, the Tufcan column be lefs by 
 one quarter at the top, than at its foot ; the difference between the diminution in 
 the Tufcan and in the Corinthian columns, will be as fifteen to feven ; and in the 
 Tufcan and Doric nearly as fifteen to nine : fo that notwithftanding there is a very 
 confiderable difference between the lower diameters of a Tufcan and of a Doric 
 column, both being of the fame height, yet the diameters at their top will be nearly 
 equal ; and confequently the Tufcan column, will in reality be no ftronger than the 
 Doric one, which is contrary to the character of the order. 
 
 Vitruvius 
 
ARCHITECTURE in general. 
 
 Vitruvius allots different degrees of diminution, to columns of different 
 heights ; giving to thofe of fifteen foot, one fixth of their diameter ; to fuch as are 
 from twenty to thirty foot, one feventh ; and when they are from forty to fifty foot 
 high, one eighth only : obferving, that as the eye is eafily deceived in confidering 
 diftant obje&s, which always feem lefs than they really are ; it is neceflary to remedy 
 the deception, by an increafe of their dimenfions : otherwife the work will appear 
 ill-conftru£ted and difagreeable to the eye. 
 
 Most of the modern architecis have taught the fame doctrine : but Perrault in 
 his notes, both on this paffage, and on the fecond chapter of the fixth book 
 endeavours to prove the abfurdity thereof. In fact, it is on moft occafions, if not 
 on all, an evident error; which Vitruvius and his followers have probably been led 
 into, through neglect of combining circumftances. For, if the validity of Per- 
 rault's arguments be not affented to, and it is required to judge according to the 
 rigour of optical laws ; it muft be remembered, that the proper point of view, for a 
 column of fifty foot high, is not the fame as for one of fifteen : but on the contrary 
 more diftant, in the fame proportion, as the column is higher: and that confe- 
 quently, the apparent relation between the lower and upper diameters of the column 
 will be the fame, whatever be its fize. For, if we fuppofe * A to be a point of 
 view, whofe refpective diftance from each of the columns f g, F G, is equal to the 
 refpeftive heights of each, the triangles f A g, FAG, will be fimilar ; and A f, or 
 A h, which is the fame, will be to A g, as A F, or its equal A H, is to A G : 
 therefore if d e, be in reality to b c, as D E is to B C, it will likewife be apparently 
 fo ; for the angle d A e, will then be to the angle b A c, as the angle DAE, is to 
 the angle BAG; and if the real relations differ, the apparent ones will likewife 
 differ. 
 
 I HAVE fuppofed the eye of the fpeftator, to be in a line perpendicular to the 
 foot of the fhaft; but if the columns be proportionably raifed to any height above 
 the eye, the argument will ftill remain in force ; as the point of view muft of courfe 
 be proportionably more diftant : and even when columns are placed immediately 
 on the ground, which feldom or ever is the cafe, the alteration occafioned by that 
 fituation, is too trifling to deferve notice. 
 
 When therefore a certain degree of diminution, which by experience is found 
 plcafing, has been fixed upon, there will be no neceflity for changing it, whatever 
 be the height of the column ; provided, the point of view is not limited : but in 
 clofe places, where the fpeftator is not at liberty to chufe a proper diftance for his 
 point of fight, the architeft, if he inclines to be fcrupuloufly accurate, may vary. 
 Though it is in reality, a matter of no importance ; as the nearnefs of the object, will 
 render the image thereof indiftinct. ; and confequently, any fmall alteration im- 
 perceptible. 
 
 Scamozzi, who efteems it an effential property of the delicate orders, to 
 exceed the maflive ones in height ; has applied the above cited precept of Vitruvius, 
 
 * Fig. 4, PI. of Mouldings. 
 
 T 
 
 to 
 
Of the TUSCAN ORDER. 
 
 to the different orders : having diminifhed the Tufcan column one quarter of its 
 diameter; the Doric one fifth; the Ionic one fixth ; the Roman one feventh; and 
 the Corinthian one eighth. In the foregoing part of this chapter, I have ftiewn the 
 fallacy of his notion, with refped to the heights of his orders, and hkewiie endea- 
 voured to prove the error of diminifhing the Tufcan column, more than any of the 
 others; fo that it' will be nccdlefs, to fay any thing farther on thefe fubjects now; 
 for as' the cafe is fimilar, the fame arguments may be employed in confutation 
 thereof. 
 
 My intention being to give an exaft idea of the orders of the ancients, I have 
 represented them under fuch figures and proportions, as appear to have been moft 
 in ufe in the cfteemed works of the Romans ; who, in the opinion of Leon Bap 
 Alberti, and other eminent writers, carried architeflure to its perfeaion. It mult 
 not however be imagined that the fame general proportions will on all occafions 
 fucceed. They are chiefly colleaed from the temples, and other public ftruaurcs 
 of antiquity, and may by us be employed in churches, palaces, and other buildings 
 of magnificence : where majefty and grandeur of manner, fhould be extended to 
 their utmoft limits ; and where the whole compofition being generally large, the 
 parts require an extraordinary degree of boldnefs, to make them diffinSly percep- 
 tible, from the proper general points of view. But in lefs confiderable edifices, and 
 under various circumftances of which I fhall hereafter give a detail, more elegant 
 proportions may often be preferable. 
 
 Of the TUSCAN ORDER. 
 
 AMONG the antiques, there are no remains of a regular Tufcan order; the 
 doarine of Vitruvius upon that fubjea, is obfcure; and the profiles of 
 Palladio, Scamozzi, Serlio, De I'Orme, and Vignola, are all, more or lefs 
 imperfea. 
 
 Of the two defigns left us by Palladio, that taken from the defcription of 
 Vitruvius, is unpleafingly ruftic. The other again is too rich, and injudicioufly 
 compofed'. That of Scamozzi is yet richer, and much too like the Doric. Serho's 
 is heavy; and Vignola's, though fuperior to the others, is defeaive m the cornice, 
 which is'clumfey, compared with the reft of the order; ill proportioned in its parts, 
 and incorreaiy profiled : as it finifhes with a fupporting moulding, which has nothing 
 to fupport ; and confequently mull; excite the idea of a mutilation : the more ftnkmg, 
 as the general outline of the compofition, refembles exaaiy the bed moulds of the 
 Ionic cornice ; fuppofing the dentil band left uncut, as is often the cafe. 
 
 In the defign here annexed, I have chiefly imitated Vignola's, who in this order 
 has been almofl univerfally followed. Even Inigo Jones, who was fo clofe an adherer 
 to Palladio; has employed Vignola's profile, in his York ftairs, and others, his 
 buildings. But, as the cornice appears to me, far inferior to the reft of the compofi- 
 tion, I have not fcrupled to rejea it ; and to fubftitute in its place, that of Scamozzi ; 
 
 with 
 
Of the TUSCAN ORDER. 
 
 with fuch alterations as were evidently neceffary, to render it perfect — Conformable 
 to the doctrine of Vitruvius, and to the almoft general practice of the moderns, I 
 have given to the height of the column, fourteen modules, or feven diameters ; and 
 to that of the whole entablature, three and a half modules ; which being divided 
 into ten equal parts, three of them are for the height of the architrave, three for 
 that of the frize, and the remaining four, for the cornice. The capital is in height, 
 one module ; the bafe, including the lower cincture of the fhaft, is alfo one module ; 
 and the fhaft, with its upper cincture and aftragal, twelve modules. Thefe are the 
 general meafures of the order. 
 
 With refpect to the particular dimenfions of the minuter parts, they may be 
 collected from the defign ; whereon the heights and projections of each member, are 
 figured ; the latter of thefe being counted from perpendiculars, raifed at the extre- 
 mities of the inferior and fuperior diameters of the fhaft: a method, preferable to 
 that of De Chambray and Defgodetz, who count from the axis of the column ; 
 becaufe, the relations between the heights and projections of the parts, are more 
 readily difcoverable : and, whenever a cornice or entablature, is to be executed 
 without a column, which frequently happens, it requires no additional time or 
 labour, as the trouble of deducting from each dimenfion, the femi-diameter of the 
 column is faved. 
 
 Scamozzi, that his bafes might be of the fame height in all the orders, has 
 given to the Tufcan one, exclufive of the cincture, half a diameter. But I have 
 rather chofen to imitate Vignola and Palladio, who in this order have deviated from 
 the general rule : for as the Tufcan bafe is compofed of two members only, inftead 
 of fix, which conftitute the other bafes, it becomes much too clumfey, when the 
 fame general proportion is obferved. 
 
 The Tufcan order admits of no ornaments of any kind : on the contrary, it is 
 fomctimes cuftomary to reprefent on the fhaft of its column, ruftic cinctures ; as at 
 the palace Pitti in Florence ; that of the Luxembourg in Paris ; York Stairs in 
 London ; and many other buildings of note. This practice though frequent, and 
 to be found in the works of many celebrated architects, is not always excufablc ; 
 and fhould be indulged with caution ; as it hides the natural figure of the column, 
 alters its proportions, and affects the fimplicity of the whole compofition. There 
 are few examples of thefe bandages in the remains of antiquity ; and, in general, 
 it will be advifeable to avoid them in all large defigns, referving the ruftic work for 
 the intercolumniations, where it may be employed with great propriety, to produce 
 an oppofition ; which will help to render the afpect of the whole compofition, 
 diftinct and ftriking. 
 
 But in fmaller works, of which the parts, being few, are eafily comprehended, 
 they may be fometimes tolerated ; fometimes even recommended ; as they ferve to 
 diverfify the forms, are productive of ftrong contrails, and contribute very confi- 
 derably to the mafculine, bold afpect of the compofition. Le Clerc thinks them 
 proper in gates of citadels and prifons, of which the entrances fhould be tcrrifick ; 
 and they are likewife fit for gates to gardens, or parks, for grottos, fountains, and 
 baths ; where elegance of form, and neatnefs of workmanlhip, would be out of 
 character. De l'Orme, who was exceeding fond of thefe cinctures, has employed 
 
 U them 
 
44 
 
 Of the TUSCAN ORDER. 
 
 them in feveral parts of the Thuilleries covered with arms, cyphers, and other 
 enrichments : but this feems abfurd, for they can never be confidered in any other 
 light, than as parts, which to avoid expence and trouble, were left unfinifhed. 
 We likewife find in different parts of the Louvre, vcrmiculated ruftics, of which the 
 tracts reprefent flowers de luce, and other regular figures : a practice, frill more 
 unnatural than the forcmentioned ; though Monfieur Daviler, very gravely tells us, 
 that it fhould always be done with propriety ; and exprefs a relation to the owner 
 of the ftructure : that is, the figures fhould reprefent his arms, his creft, motto, 
 cypher, and fo forth : as if worms were draughtfmen, and underftood heraldry. 
 
 In the plates of defgns for gates, doors and windows, and likewife in thofe of 
 different compofitions, at the end of the book ; are given feveral defigns of ruftick 
 columns, and other ruftick work ; all collected from buildings of note, in different parts 
 of Europe : and for the manner of executing them, as it cannot well be defcribed, 
 the ftudent is referred to various parts of Somerfet Place, to the Horfe Guards, the 
 Treafury, the Doric entrance of the King's Mews, the gate of Burlington Houfe, 
 &c. in all which, the different kinds of ruftication, are managed with tafte, and 
 command of the chiffel. 
 
 De Chambray, in the introduction to his parallel of ancient and modem 
 architecture, treats the Tufcan order with great contempt ; and banifhes it to the 
 country : as unworthy a place, either in temples or palaces. But, in the fecond 
 part of the fame work, he is more indulgent ; for tho he reiects the entablature, the 
 column is taken into favour, " and compared to a queen, feated on a throne ; fur- 
 " rounded with all the treafures of fame, and diftributing honours to her minions ; 
 " while other columns only feem to be fervants and fiaves of the buildings they 
 " fupport." 
 
 The remainder of this paffagc, too long to be here inferred at full length ; is 
 calculated to degrade and totally to exclude from buildings, the Tufcan order : but 
 by a different mode of employing, and dreffing the column, to exalt its confequence ; 
 increafe its majefty and beauty ; fo as to ftand an advantageous comparifon with any 
 of the reft ; he therefore wifhes, in imitation of the ancient architects, to confecrate 
 the Tufcan column, to the commemoration of great men, and their glorious actions ; 
 inftancing Trajan's column, one of the proudeft monuments of Roman fplendor, 
 which is of that order ; was erected by the fenate and people of Rome, in acknow- 
 ledgment of his fervices, and has contributed more to immortalize that emperor, 
 than the united pens of all hiftorians. He farther inftances the Antonine column, 
 likewife erected at Rome on a fimilar occafion, in honour of Antoninus Pius : and 
 another of the fame fort at Conftantinople, raifed to the emperor Theodofius, after 
 his victory over the Scythians : both which, prove by their refemblance to the Trajan 
 column, that this fort of appropriation recommended by him ; had paffed into a 
 rule, among the ancient matters of the art. 
 
 I shall not here difpute the juftnefs of Mr. De Chambray's remarks ; but may 
 venture to affirm, that not only the Tufcan column, but the whole order, as repre- 
 fented in the annexed defign, (which, being in fact the production of Vignola and 
 Scamozzi, I may praife without the imputation of vanity,) is extremely beautiful, a 
 
 ufeful, 
 
Of the DORIC ORDER. 
 
 45 
 
 ufeful, even neceffary gradation in the art ; and for its purpofes, inferior to none, of 
 the reft. 
 
 The Tufcan, order as it conveys ideas of ftrength and ruftic fimplicity, is very 
 proper for rural purpofes ; and may be employed in farm houfes, in barns and fheds 
 lor implements of hufbandry, in ftables, maneges and dog-kennels, in green houfes, 
 grottos and fountains, in gates of parks and gardens, and generally wherever mag- 
 nificence is not required, and expence is to be avoided. Serlio recommends the 
 ufe thereof in prifons, arfenals, trcalurie?, fea ports and gates of fortified places ; 
 and Le Clerc obferves, that though the Tufcan order as treated by Vitruvius, by 
 Palladio, and fome others, ought to be entirely rejefted ; yet according to the 
 compofition of Vignola, there is a beauty in its fimplicity, which recommends it to 
 notice ; and entitles it to a place, both in private ana public buildings : as, in colo- 
 nades and porticos, furrounding fquares or markets ; in granaries or ftorehoufes ; and 
 even in royal palaces : to adorn the lower apartments, offices, ftables and other 
 places, where ftrength and fimplicity are required ; and where richer, or more delicate 
 orders would be improper. 
 
 In conformity to the doclrine and prafiice before-mentioned, feven diameters 
 or fourteen modules, have been given to the height of the Tufcan column ; a propor- 
 tion, very proper for rural or military works, where an appearance of extraordinary 
 folidity is required : but in town buildings, intended for civil purpofes ; or in interior 
 decorations ; the height of the column, may be fourteen and a half, or even fifteen 
 modules, as Scamozzi makes it; which augmentation, may be entirely in the fhaft, 
 without changing any meafures either of the bafe or capital. Nor need the enta- 
 blature be altered ; for, as it is compofed of few parts, it will be fufficiently 
 bold; although its height be fomewhat lefs, than one quarter of the height of the 
 column. 
 
 Of the DORIC ORDER. 
 
 IN the parallel, are given three profiles of the Doric order : one of which is taken 
 from the theatre of Marcellus, and the other two, arc copied by Piefro Ligorio, 
 from various fragments of antiquity, in and near Rome. Vignola's fecond Doric 
 profile, bears a near refemblance to the moft beautiful of thefe, and was not impro- 
 bably collected from the fame antique, which Ligorio copied : though it rnuft be 
 owned, that Vignola has, in his compofition, far exceeded the original: having 
 omitted the many trivial, infignificant mouldings, with which that is over-loaded ; 
 and in various other refpefts, improved both its form and proportions. 
 
 This profile of Vignola's, being compofed in a greater ftile, and in a manner 
 more charafteriftic of the order, than any other, I have chofen for my model ; 
 having, in the general form and proportions, ftriclly adhered to the original ; though 
 in particular members I have not fcrupled to vary, when obfervation taught me they 
 might be improved. 
 
 X 
 
 Vignola, 
 
4-6 
 
 Op the DORIC ORDER. 
 
 Vignola, as appears by the preface to his rules ; fuppofed, that the graceful 
 and pleafing afpeft of Architectonic objects, was occafioned by the harmony and 
 fnnplicity of the relations exifti'ng between their parts ; and in compofmg his profiles, 
 heconltantly regulates his meafures, by thefc fimple affinities ; imagining the deviations 
 from them in his antique models, to proceed, rather from the inaccurate execution 
 of the workmen, than from any premeditated defign in the contriver. To this notion 
 may be afcribed, many little defects in the proportions of his mouldings, and minuter 
 members ; which, though trifling in themfelves, are yet, from the fmallnefs of the 
 parts where they happen to be, of confequence ; and eafily perceivable, by a judi- 
 cious eyei Thefe I have therefore endeavoured to correct, not only in this, but in 
 others of his orders ; which, from their conformity to the beft antiques, I have in 
 the courfe of this work, chofen to imitate. 
 
 It has already been obferved, that the real relations, fubfifting between diffi- 
 milar figures, have no connection with the apparent : the form, and fituation, of 
 the object; viewed, ever altering the affinity ; and it is a truth, too evident to require 
 demonftration. No one will deny, for inftance, that the ovolo in the annexed 
 Doric cornice*, viewed in its proper elevation, will appear much larger than the 
 capital of the triglyph, under and contiguous to it; though they are in reality, 
 nearly of the fame dimenfions : and, if the fame ovolo were placed as much below 
 the level of the fpeftator's eye, as it is in the prefent cafe above ; it is likewife 
 evident, that it would appear confiderably lower, than any flat member of the fame 
 height. Thefe things being fo, a ftrict attachment to harmonic relations, feems 
 entirely out of the queftion ; fince, what is really in perfeft harmony, may in 
 appearance produce the moft jarring difcord. 
 
 Perfect proportion, in architecture, if confidered only with regard to the 
 relations between the different objecls in a compofition ; and, as it merely relates 
 to the pleafure of the fight; feems to confilt in this: that thofe parts which are 
 either principal or effential, ffiould be contrived to catch the eye fucceffively, from 
 the moft confiderable, to the leaft, according to their degrees of importance in the 
 compofition ; and imprefs their images on the mind, before it is affetted by any of 
 the lubfervient members : yet, that thefe ffiould be fo conditioned, as not to be 
 entirely abforbed, but be capable of raifing diftinct ideas likewife; and fuch, as may 
 be adequate to the purpofes, for which thefe parts are defigned. 
 
 The different figures and fituations of the parts may, in fome degree, contri- 
 bute toward this effefi : for fimple forms will operate more fpeedily than thofe that 
 are complicated; and fuch as project:, will be fooner perceived, than fuch as are 
 more retired : but dimenfion feems to be the predominant quality ; or that which 
 acts moft powerfully on the fenfe : and this, it is apprehended, can only be difco- 
 vered by experience; at leaft to any degree of accuracy. When therefore a 
 number of parts, arranged in a particular manner, and under particular dimenfions, 
 excites, in the generality of judicious fpectators, a pleafing fenfation ; it will be 
 prudent on every occafion, where the fame circumftances fubfift, to obferve exactly 
 
 " PI. Doric Order. 
 
 the 
 
Of the DORIC ORDER. 
 
 47 
 
 the fame arrangement and proportions ; notwithftanding they may in themfelves 
 appear irregular, and unconnefted. 
 
 In compofing the orders and other decorations, which are contained in the 
 prefent publication, this method has conftantly been obferved ; the author having 
 himfelf, with that view, meafured with the utmoft accuracy, and not without fome 
 danger; many ancient and modern celebrated buildings, both at Rome and in 
 other parts of Europe ; ftriaiy copying fuch things as appeared to be perfeft ; and 
 carefully correftmg others, which feemed in any degree, faulty: relying therein 
 not alone on his own judgment, in doubtful cafes; but much on the opinion and 
 advice, of feveral learned, ingenious artifts of different nations ; with whom he had 
 the advantage of being intimately connected, when abroad. 
 
 Sensible he is, that the extraordinary degree of accuracy, which has been 
 aimed at in thefe compofitions, is of little confequence to the generality of fpeda- 
 tors; who fee in the grofs, and feel by the lump. Neverthelefs, as in poefy, mufic, 
 painting, and indeed in all arts, there are delicacies, which, though they efcapc 
 the vulgar notice, afford uncommon pleafure to perfons of enlightened conception ; 
 fo in architefture, this kind of perfeaion, is the fource of fecondary pleafures ; lefs 
 forcible perhaps, but not always lefs delightful than the firft : thefe may be compa- 
 red, to thofe excited by the energy or graces of language in poetry; by the makes, 
 fwells,_ inflections, and other artifices of the inftrumcnt, or voice in mufic ; which 
 give fentiment and expreffion to the performance. Or in painting, by a judicious 
 choice, and artful difpofiti on of the objea S ; a nice difcrimination of the paffions ; an 
 elegant tafte of defign, and a fpirited, mafterly touch of the pencil. To all but local 
 colour, and general refemblance, the unfkilful are commonly blind ; but the correa 
 eye, and ripened judgment, derive their chief pleafure, from that, which the igno- 
 rant rarely perceive, and feldom or ever tafte. 
 
 It may perhaps, be objeaed, that the proportions here eftablifhed, though 
 proper and good on one occafion, may on many others be defeaive. But this 
 objeaion will, I flatter myfelf, have little weight ; when it is remembered, that the 
 fituation of capitals and entablatures, with refpea to the order of which they are 
 parts, is conftantly the fame : and the points of view more or lefs diftant, according 
 to the fize or elevation of the order. And that confequently, the apparent magni- 
 tudes of all their parts, will always have, very nearly, the fame proportion to each 
 other ; even though they mould be exalted to a fecond or third ftorv. 
 
 With regard to bafes indeed, their being placed on pedeftals, or immediately 
 on the ground, will occafion fome little difference in their appearance ; and when 
 they are raifed to a fecond ftory, their figure and apparent proportions will be 
 confiderably altered. Neverthelefs it doth not feem neceffary, in either of thefe 
 cafes, to vary their dimenfions : for in the former of the two, the alteration would 
 be trifling; and in the latter, the objea being far removed from the eye, the 
 fpeaator will rather be occupied in confidering the general mafs, than in examining 
 its parts ; which, on account of their diftance, cannot be diftinaiy perceptible. 
 
 The height of the Doric column, including its capital and bafe, is fixteen 
 modules ; and the height of the entablature, four modules ; the latter of which being 
 
 Y divided 
 
48 
 
 Of the DORIC ORDER, 
 
 divided into eight parts, two of them are given to the architrave, three to the frize, 
 and the remaining three to the cornice. 
 
 In moft of the antiques, the Doric column is executed without a bafe : Vitru* 
 Vius likewife makes it without one ; the bafe, according to that author, having been 
 firft employed in the Ionic order, to imitate the fandal or covering of a woman's 
 foot. Scamozzi blames this practice; and molt of the moderns have been of his 
 opinion ; the greateft part of them having employed the Attic bale in this order. 
 Monfieur De Chambray, however, whofe blind attachment to the antique is, on 
 many occasions, fuEciently evident ; argues vehemently againft this practice : which, 
 as the order is formed upon the model of a ftrong man, who is conftantly repre- 
 fented bare-footed ; is, according to him, very improper : and " though, fays he, 
 " the cuftom of employing a bafe, in contempt of all ancient authority, has by 
 " fome unaccountable and falfe notions of beauty, prevailed ; yet I doubt not but 
 " the purer eye, when apprifed of this error, will eafily be undeceived; and as 
 " what is merely plaufible will, when examined, appear to be falfe ; fo apparent 
 " beauties, when not founded in reafon, will of courfe be deemed extravagant." 
 
 Le Clerc's remarks on this paffage, are very judicious ; and as they may 
 ferve to deftroy a notion, which foon after our Athenian difcoveries, about thirty 
 years ago, was much too prevalent among us ; and might, perhaps, in fome future 
 hour of extravagance, prevail again ; I fhall, for the benefit of fuch as are unac- 
 quainted with the original, tranflate the whole paffage. " In the moft ancient 
 " monuments of this order, fays he, the columns are without bafes ; for which it 
 " is difficult to affign any fatisfactory reafon. Monfieur De Chambray, in his 
 " parallel, is of the fame opinion with Vitruvius, and maintains that the Doric 
 " column, being compofed upon the model of a naked, ftrong, and mufcular man, 
 " refembling a Hercules, fhould have no bafe ; pretending that the bafe to a column, 
 " is the fame as a fhoe to a man. But I muft own, I cannot confider a column 
 " without a bafe, in comparing it to a man ; but I am at the fame time ftruck with 
 " the idea of a perfon without feet, rather than without fhoes : for which reafon I 
 " am inclinable to believe ; either, that the architects of antiquity had not yet thought 
 " of employing bafes to their columns, or that they omitted them, in order to leave 
 " the pavement clear ; the angles and projection of bafes, being ftumbling blocks to 
 " pafTengers, and fo much the more troublefome, as the architects of thofe times, 
 " frequently placed their columns very near each other : fo that had they been 
 " made with bafes, the paffages between them would have been extremely narrow 
 " and inconvenient : and it was doubtlefs for the fame reafon, that Vitruvius made 
 " the plinth of his Tufcan column round ; that order, according to his conftruction, 
 " being particularly adapted to fervile and commercial purpofes ; where conveniency 
 " is preferable to beauty. However this be, perfons of good tafte will grant, that 
 " a bafe not only gives a graceful turn to the column, but is likewife of real ufe ; 
 " ferving to keep it firm on its plan : and that if columns without bafes are now fet 
 " afide, it is a mark of the wifdom of our architects, rather than an indication of 
 " their being governed by prejudice, as fome adorers of antiquity would infmuate." 
 
 In imitation of Palladio, and all the modern architects except Vignola; I have 
 made ufe of the Attic bafe in this order : and it certainly is the moft beautiful of 
 any ; though for variety's fake, when the Doric and Ionic orders are employed 
 
 together, 
 
Of the DORIC ORDER. 
 
 49 
 
 together, the bafe invented by Vignola, of which a profile is annexed, may fometimes 
 be ufed. Bernini has employed it in the colonades of St. Peter's, and it has been fuc- 
 cefsfully applied in many other buildings. 
 
 The ancients fometimes made the fhaft of the Doric column prifmatic, as 
 appears by a pafTage in the fourth book of Vitru'vius; and at other times they 
 adorned it with a particular kind of fhallow flutings, defcribed from the center of 
 a fquare, no interval or fillet being left between them. Of this fort, there are now 
 fome columns to be feen in the temples of Pedum, near Naples ; in different parts 
 of Sicily ; and in the church of St. Peter in Catenis, at Rome. The firfl. of thefe 
 manners has not, I believe, been imitated by any of the modern mailers ; nor is 
 the fecond very frequent : Scamozzi blames it for its want of folidity, the projecting 
 angles between the flutings being eafily broken, and, if the material be foft, very 
 fubject to moulder. 
 
 Vitruvius gives to the height of the Doric capital one module ; and all the 
 moderns, except Alberti, have followed his example. Neverthelefs, as it is of the 
 fame kind with the Tufcan, they fhould both bear nearly the fame proportion to 
 the heights of their refpeftive columns ; and confequently, the Doric capital ought 
 to be more than one module, which it accordingly is, both at the Colifeum, and 
 in the theatre of Marcellus : being in the former of thefe buildings, upwards of 
 thirty-eight minutes, and in the latter thirty-three minutes high. 
 
 In the defign here offered, I have made the height of the whole capital thirty- 
 two minutes, and in the form and dimenfions of the particular members, I have 
 deviated but little, from the profile of the theatre of Marcellus. The frize, or neck, 
 is enriched with hulks and rofes, as in Palladio's defign, and as it has been executed 
 by Sangallo, at the Farnefe Palace in Rome, and by Cigoli, in the Cortile of the 
 Strozzi at Florence, as well as in feveral buildings of note in this metropolis. The 
 projection of thefe hulks and flowers, muil not exceed that of the upper cinfture of 
 the column. 
 
 The architrave is one module in height, and compofed only of one fafcia and 
 a fillet, as at the theatre of Marcellus : the drops are conical, as they are in all the 
 antiques ; not pyramidal, as they are improperly made by moft of our Englifh 
 workmen: they are fuppofed to reprefent drops of water draining from the triglyph, 
 and confequently they fhould be cones, or parts of cones, not pyramids. 
 
 The frize and the cornice, are each of them one module and a half in height : 
 the metope is fquare, and enriched with a bull's fcull, adorned with garlands of 
 beads, in imitation of thofe on the temple of Jupiter Tonans, at the foot of the 
 Capitol. In fome antique fragments, and in a greater number of modern buildings, 
 the metopes are alternately enriched with thefe ox-fculls, and with pateras; but 
 they may be filled with any other ornaments, of good forms ; and frequently with 
 greater propriety. Thus, in military ftruftures, heads of Medufa, or of the Furies, 
 • thunderbolts, and other fymbols of horror, may be introduced : likewife helmets, 
 daggers, garlands of laurel or oak, and crowns of various kinds ; fuch as thofe ufed 
 among the Romans, and given as rewards for different military achievements : 
 but fpears, fwords, quivers, bows, cuiraffes, fhields, and the like ; muft be avoided : 
 
 Z becaufe 
 
5° Of the DORIC ORDER. 
 
 became the real dimenfions of thefe things, are too confiderable to find admittance 
 m fuch fmall compartments : and reprefentations in miniature, always carry with 
 them an idea of triviality, carefully to be avoided in architeaure ; as in all other 
 arts. In facred buildings, cherubs, chalices, and garlands of palm or olive, may 
 be employed ; likewife doves, or other fymbols of moral virtues. And in private 
 houfes, crefts or badges of dignity, may fometimes be fuffercd : though feldom- 
 and indeed never, when they are of fuch ftiff, infipid forms, as ftars, garters' 
 modern crowns, coronets, mitres, truncheons, and fimilar gracelefs objeas : the ill 
 effeas of which may be feen at the Treafury, in St. James's Park, and in many 
 other places. 
 
 Too much variety in the ornaments of the metopes, mufl be avoided ; left the 
 unity of the compofition fhould be deftroyed. It is beft, never to introduce more 
 than two different reprefentations; which fhould not confift of above one, or at 
 moft two objeas each ; of fimple forms, and not overcharged with ornaments. In 
 the difpofition of thefe, care muft be taken to place them with fymmetry ; thofe on 
 the right, m correfpondence with thofe on the left. Wherefore, when a triglyph 
 happens to be in the middle of a front, it becomes neceffary to couple the middle 
 ones, by filling the two metopes, on each fide of the central triglyph, with the 
 fame fort of ornaments ; as is done at the gate of Burlington Houfe in Piccadilly ; 
 diftnbuting the reft alternately, throughout the compofition, as ufual. It is like- 
 wife to be obferved, that ornaments in metopes, are not to projea fo much as they 
 do at Bow Church, or at General Wade's Houfe in Burlington Gardens ; where, 
 from their great relief, they are far more ftriking than the triglyphs ; which ought 
 to predominate : as being effential, and principal parts in the compofition. Pal- 
 ladio in his Bafilica of Vicenza, has given to the moft elevated parts of the ox-fculls 
 and pateras, with which the metopes are filled ; very little more projeaion, than 
 that of the triglyph ; and in this, he has copied the ancients ; who feldom or never, 
 save more projeaion to any ornament, than that of the frame or border, in which 
 it was inclofed : as appears by thofe inimitable fragments in the Villa Medici, and 
 many others in different parts of Rome, and elfewhere. The channels of the 
 triglyph on their plan, commonly form a right angle; but, to give them more 
 effea, a narrow fquare groove may be cut in the inner angle, from top to bottom ; 
 and quite into the folid of the frize. 
 
 In the cornice, I have deviated very little from my original. Le Clerc, who 
 in his Doric profile, has imitated that of Vignola ; makes the mutules as broad as 
 the capital of the triglyph : Mr. Gibbs has followed his example ; and they have 
 been executed in that manner, on a couple of doors to houfes, on the north fide of 
 Lincoln's-Inn Fields. But Vignola's method is preferable, who makes them no 
 broader than the triglyph ; as it is more fightly, and more conformable to the car- 
 penter's art: in which, the width of the rafter, never exceeds the width of the beam 
 or joift, it ftands upon. The ornaments of the foffit, are nearly the fame as thofe 
 of Vignola. They fhould be entirely funk up, wrought in the folid of the corona, 
 and never drop down lower than its foffit. There is no neceffity for cutting them 
 deep : m moft of Palladio's buildings, they do not enter above two minutes, into 
 the corona ; and that is quite fufficient. 
 
 Vignola's 
 
Of the DORIC ORDER. 
 
 Vignola's other Doric profile, is in imitation of that of the theatre of Mar- 
 cellus ; in it he has very judicioufly pointed out, and in fome meafure, corre&ed 
 the faults of the original : but reverence for the antique, has made him rather too 
 fparing of his amendments. I have given a defign of this profile*, with fuch farther 
 corrections as appeared neceffary ; the molt confiderable of them, confining in the 
 enlargement of the dentils ; which are neither in the antique model, nor in Vignola's 
 profile, fufficiently confpicuous, to hold their due place in the compofition. 
 
 At the theatre of Marcellus, the ornaments of the foffit are not in a horizontal 
 pofition, but hang down towards the front of the corona ; which, as it appears by 
 Vitruvius, was a common practice among the ancients ; and done to imitate the 
 inclination of the rafters. Palladio, and Vignola, have both adopted this particu- 
 larity; which, Davilere fuppofes to have been firft ufed, in order to make the 
 projection of the entablature, appear more confiderable. To me it has an exceeding 
 difagreeable appearance ; the whole foffit feems in a falling flate : and fo far is it 
 from producing the. effect which Davilere fuppofes, that it actually makes, as it 
 evidently muft, the projection feem lefs than in reality it is. 
 
 Vignola's two Doric entablatures, fays Davilere, are both of them fo elegantly 
 compofed, that it is fcarcely poifiblc to determine, which of them ought to have 
 the preference. The firft, which is entirely antique, is the lighteft ; and confe- 
 quently propereft for interior decorations, or objects intended for near inflection ; 
 the other, compofed by Vignola himfelf, from various fragments of antiquity, being 
 bolder, and confifting of larger parts, feems better calculated for outride works ; and 
 places where the point of view is either diftant, or unlimited. On polygonal plans, 
 however, the mutule cornice muft be avoided; becaufe the foffits of the angular 
 mutules, would form irregular and very difagreeable figures : neither fhould it be 
 employed in concaves of fmall dimenfions, for the fame reafon ; nor in places where 
 frequent breaks are requifite ; it being extremely difficult, often impoffible, to pre- 
 vent the mutules from penetrating, and mutilating each other, in various unfightly 
 manners. And wherever this cornice is ufed on a convex furface, the fides of the 
 mutules muft be made parallel; for it would be both difagreeable and unnatural, 
 to fee them broader, and confequently heavier in front, than where they fpring out 
 of the mutule band. 
 
 Palladio's Doric entablature, is likewife very beautiful: I mean as^it is 
 executed in the Bafilica of Vicenza, where it differs widely from the profile in his 
 bookt, and is far preferable thereto. In the fame plate with Vignola's dentil enta- 
 blature, there is a defign of it, accurately copied from that building ; which may 
 ferve as one inftance of many, to fhew, how little the meafures of his book are to be 
 relied upon. 
 
 Of all the entablatures, the Doric is molt difficult to diftribute ; on account of 
 the large intervals, between the centers of the triglyphs; which neither admit 
 of increafe, or diminution, without injuring the fymmetry, and regular beauty of 
 
 * PI Doric Entablatures. ' t pl - Do " c Entablatures. 
 
 A a 
 
 the 
 
Of the IONIC ORDER. 
 
 the compofition. Thefe conftantly confine the compofer to intercolumniations, 
 divifible by two modules and a half; entirely exclude coupled columns; and pro- 
 duce fpaces, which, in general, are either too wide or too narrow, for his purpofes. 
 
 To obviate thefe difficulties, the triglyphs have often been omitted, and the 
 entablature made plain ; as at the Colifcum in Rome, the colonades of St. Peter's, 
 of the Vatican ; and in many other buildings, both at home and abroad. This 
 indeed, is an eafy expedient : but while it robs the order of its principal character- 
 lftick diflmdion, leaves it poor, and very little fuperior to- the Tufcan, the remedy 
 feems defperatc, and fhould never be employed, but as a laft refource. 
 
 The ancients employed the Doric, in temples dedicated to Minerva, to Mars, 
 and to Hercules ; whofe grave and manly difpofitions, fuited well with the charafter 
 of this order. Serlio, fays it is proper for churches dedicated to Jefus Chrift, to 
 St. Paul, St. Peter; or any other Saints, remarkable for their fortitude, in expofing 
 their lives, and fuffering for the Chriftian faith. Le Clcrc, recommends the ufe 
 of it, m all kinds of military buildings ; as arfenals, gates of fortified places, guard 
 rooms, and fimilar ftruftures. It may likewife be employed in the houfes of 
 pencil! or other martial men; in maufoleums ereded to their memory, or in 
 tnumphal bridges and arches, built to celebrate their victories. 
 
 I have made the height of the Doric column, fixteen modules; which, in 
 buildings where majefty, or grandeur are required, is a proper proportion : but in 
 others, it may be fomewhat more (lender. Thus, Vitruvius makes the Doric 
 column in porticos, higher by half a diameter, than in temples ; and moft of the 
 modern architects, have on fome occafions, followed his example. In private 
 houfes therefore, it may be i6j, i6'-, or 16! modules high; in interior decorations, 
 even feventeen modules, and fometimes perhaps a trifle more : which increafe in the 
 height, may be added entirely to the (haft, as in the Tufcan order; without chang- 
 ing either the bale, or capital. The entablature too, may remain unaltered, in all 
 the aforefaid cafes ; for it will be fufficiently bold, without alteration. 
 
 Of the IONIC ORDER. 
 
 AMONGST the ancients, the form of the Ionic profile, appears to have been 
 more pofitively determined, than that of any other order; for in all the 
 antiques at Rome, (the temple of Concord excepted,) it is exadly the fame ; 
 and conformable to the defcription Vitruvius has given thereof. 
 
 The modern artifts,' have likewife been more unanimous in their opinions 
 upon the fubjea ; all of them, excepting Palladio and his imitators, having employed 
 the dentil cornice, and the other parts of the profile, nearly as they are found in 
 the Cohfeum, the temple of Fortune, and the theatre ofMarcellus. 
 
 In Palladio's works, we meet with three different Ionic entablatures; all of 
 them very beautiful. The firft is the true antique, which he has made ufe of at the 
 
 palace 
 
Of the IONIC ORDER. 53 
 
 palace of the Porti ; and in feveral doors and windows of the TWni 1 
 Vaknarano palaces, in Vicenza The femnd i< a ™ ■ a • the . lhlen >, and 
 
 IN the firft plate of the Ionic order, there is a defign of the antinue nrofill 
 colleftedby me, from different antiquities at Rome. The height of t e^nl, P ' 
 e.ghteen modules, and that of the entablature, four modules S a a f or^one 
 Cn^ 0 nv ofth ClghtO l" theC ° 1Umn ' the ° ther ° rd -= w\th is a [rifl S 6 
 
 and the ftjft of th^ f" ^ The bafe is Atdc ' as in a11 -tioue -' 
 
 withtwer v nf ? Clther be Phin ' ° r fluted ' with twenty-four or 
 
 with twenty flutings only, as at the temple of Fortune : of which the olan <Cw Z 
 
 a httle more than femi-circular, as it is at the temple of Tup ter Tonan- an a £ 
 forum of Nerva; becaufe then they are more diftindly marked The filW 
 interval between the flutes, fhould It be broader tha LTthl 'of ^ f^Z 
 nor narrower than one quarter thereof. The ornaments of the capital are to cor' 
 Sre'oTtn'Lte^Tl "* ^ "? ^ "» ™ orTdt TbSeThe 
 
 whth is the tft i hive V Tr t0 aCCOrdin ^ to Goldman ' s ^thod, 
 
 Plate ^|fpr^^ 
 
 without formmg an angle: whereas, in that of De 1'Orme, the radii -nSerSS 
 and confequently no two of the curves can join, without forming an ani S' 
 fpace in De I'Orme's volute, between the firft quadrants, in the firft and feclnd 
 rcvolu .on is of the fame breadth throughout ; b2th the quadran s being de£ bed 
 
 nZs etiXfromthe " f^Z" ^ ^ the -olulons d mi- 
 
 mines regularly horn the very firft. Moreover, De l'Orme has given no directions 
 for defcnbmg the inner fpnal, which determines the breadth tf the fi et and 
 Which, m his defign, is nearly of the fame breadth from firft to laft • but Goldman 
 
 :^st=xs mbingit ' 10 as to 
 
 Palladia's volute differing but little from that of De l'Orme has nearlv 
 the fame defefts: and though Mr. -Gibbs has in fome meafure, aided it yet 
 
 • A and Scamozzi ' Serli °' AIberti ' and ^hers have, in their architraves 
 
 tS I of three f fet and of ^ Colifeu'm; havbg^pS 
 
 mem of three taicias diftinguifhed from each other, only by fmall nroiecliom 
 Th.s has but an indifferent effed; the feparations fo faintl/marked J no foffi 
 ciently ftnking; and the architrave is left too deftitute of ^rnamen s for tL reft 
 of he profile: a defed moft ftnking, whenever the mouldings of Se profile Tre 
 
 Bb 
 
 On 
 
Of the IONIC ORDER. 
 
 Om the other hand, Palladio's and De l'Orme's architraves, appear too rich.; 
 
 ding. 
 
 The three parts of the entablature, bear the fame proportion to . each other 
 his competitors. 
 
 IF it b, requited to reduce this entablature, to Wo moths of the 
 
 intercolumniations; and in the outer angle, there will be a dentil, as there 
 the temple of Fortune, at Rome. 
 
 In interior decorations, where much delicacy is required, the = height of the 
 entablature may be reduced even to one fifth of the column; by obiemng tne 
 £Sod id making the module, only four fifths of the femi-diameter. 
 
 Of Palladio's profiles, that, imitated from the temple of Concord, appears 
 
 by the oge, may be diminifhed a trifle. 
 
 P.TiAmn's other profile, I have copied from the rotunda of Capra; it's 
 
 sS'B- Srfj t sr. 3 f. * tvsfi 
 
 fufed and much too abundant in curves. The faze, when to toimcci com > 
 [he idea of a piece of timber, ufed without being hewn ; as was the pradice of ruder 
 
Of the IONIC ORDER. 
 
 55 
 
 times among the Greeks, and cannot with propriety be introduced in a finifhcd 
 work. 
 
 In the antique, there are few examples of thefc fwelled frizes ; Palladio proba- 
 bly took his hint, from the temple of Bacchus, near Rome ; where the fwelled frize 
 has been ufed in a Compofite order: or perhaps, from the Bafilica of Antoninus, 
 where it has been employed in a Corinthian : with little fuccefs at the laft, and with 
 much lefs, at the firft of thefe places ; for as the columns are there infulated, and the 
 profile is marked at the four angles, the deformity becomes fo much the more 
 confpicuous : and, notwithftanding Palladio's partiality to this form of frize, which 
 fo frequently recurs in moll of his works ; it feldom or never can be introduced with 
 fuccefs, but on doors or windows, where the profile of the architrave is not marked 
 under it : there indeed, the fwell forms a good contraft with the upright jambs ; 
 and has the farther advantage of contracting the fprcad of the cornice ; which, in 
 narrow intercolumniations, is very convenient; and in moft cafes, may prevent the 
 licentious practice, of making the frize and cornice no wider than the aperture of 
 the door or window, and fupporting them on each fide with a fort of fcroll ; as at 
 the Sorbonne in Paris, and at the Manfton Houfe in this city. 
 
 Palladio, in both thefe profiles, has enriched the foffit of the corona with 
 rofes ; which are here omitted, as in moft cafes they ought to be. However when 
 the column is fluted, and the reft of the compofition much adorned, they may, and 
 fhould be introduced ; care being taken to proportion the pannels, and other parts 
 furrounding them, in the lame manner, as if the order were Corinthian or Com- 
 pofite. 
 
 The antique Ionic capital, differs from any of the others : its front and fide 
 faces are not alike. This particularity, occafions great difficulty, wherever there 
 are breaks in the entablature ; or where the decoration is continued in flank, as well 
 as in front : for either, all the capitals in the flank muft have the balufter fide out- 
 ward, or the angular capitals will have a different appearance from the reft ; neither 
 of which is admiiTible. The architect of the temple of Fortune at Rome, has fallen 
 upon an expedient, which in fome degree, remedies the defect. In that building, 
 the corner capitals have their angular volutes in an oblique polition, inclining equally 
 to the front and fide, and offering volute faces both ways. Wherever perfons are 
 violently attached to the antique, or furioufly bent on rejecting all modern inventions, 
 however excellent ; this is the only mean to gratify them : but when fuch is not the 
 cafe, the angular capital invented by Scamozzi, or imitated and improved by him, 
 from the temple of Concord, or borrowed from fome modern compofitions extant 
 in his time, ought to be employed ; for the diftorted figure of the antique capital, 
 with one volute ftraight and the other twifted, is very perceptible, and far from 
 being pleafing to the eye. 
 
 Annexed is a defign of Scamozzi's capital, and another of a very beautiful one, 
 executed in St. Peter's of the Vatican; probably compofed by Michael Angelo. 
 Similar capitals may alfo be feen in the church of the Roman college, and in 
 various other buildings at Rome. 
 
 In 
 
56 
 
 Of the COMPOSITE ORDER, 
 
 In this order, I have employed the Attic bafe. Of the antique bafe defcribed 
 by Vitruvius, and ufed by Vignola and Philibert De l'Orme, in their Ionic orders, 
 and by Sir Chriftophcr Wren, in fome parts of St. Paul's ; I think there is no 
 example among the antiques; and being univerfally efteemed a very imperfect 
 production, I have not even given a defign of it. 
 
 As the Doric order, is particularly affefted in churches or temples, dedicated 
 to male faints ; fo the Ionic, is principally ufed in fuch as are confecrated to females, 
 of the matronal ftate. It is likewife employed in courts of juftice, in libraries, 
 colleges, feminaries, and other flruftures having relation to arts or letters ; in private 
 houfes, and in palaces ; to adorn the women's apartments ; and, fays Le Clerc, in 
 all places dedicated to peace and tranquillity. The ancients employed it in temples 
 facred to Juno, to Bacchus, to Diana, and other deities whofe difpofitions held 
 a medium, betw een the fevere and the effeminate. 
 
 Of the COMPOSITE ORDER. 
 
 jOTRICTLY fpeaking, the ancients had but four orders ; the Compofite was not 
 confidered by them as a diftincl production : Vitruvius exprefsly tells us, book 
 IV. chap, l, that on Corinthian columns, other capitals of various kinds were 
 
 employed; which neverthelefs ought not to change the names of the columns, 
 
 becaufe their proportions remained ftill the fame. 
 
 The moderns, however, have ranked the Compofite with the four orders 
 mentioned by Vitruvius ; having among the great number of different Compofite 
 capitals, to be met with in the remains of antiquity, chofen for their model, that 
 which has been ufed in the triumphal arches, in the temple of Bacchus, and at the 
 baths of Dioclefian: rather, I believe, as agreeing moft with the defcription of 
 Vitruvius, (who obferves that thefe capitals were compofed of the Ionic, Doric, and 
 Corinthian,) than from any preference in point of beauty to many others. 
 
 Neither doth it appear, that the ancients affected any particular form of 
 entablature to this order : fometimes they made the cornice entirely plain, as in the 
 temple of Bacchus ; at others, enriched with dentils, and differing very little from 
 the Ionic, as in the arch of Septimus Severus ; and in the arch of Titus, there are 
 both dentils and modillions ; the whole form of the profile, being the fame with 
 that of the Corinthian ; as it is executed in moft of the antiques, at Rome and 
 elfewhere. 
 
 The modern architects, have varied more in this, than in any other of the 
 orders. Abandoned, as De Chambray obferves, by their guide Vitruvius ; and left 
 entirely at large, they have all taken different paths: each following the bent of his 
 own particular fancy. Among them, Serlio has been leaft fuccefsful ; having chofen 
 for the model of his entablature, that of the fourth order of the Colifeum: a 
 
 compofition 
 
Of the COMPOSITE ORDER. 
 
 57 
 
 compofition too clumfy, even for a Tufcan order. De l'Orme, however, has 
 followed his example ; and miftaken the columns of the fourth order of the Colifeum, 
 which are Corinthian, for Compofitc. 
 
 Palladio in his profile, has imitated the cornice of the frontifpiece of Nero ; 
 and corrected its defects with much judgment. His architrave is likewife taken 
 from the fame building : but he has omitted its beautiful frize, and fubftituted in 
 its place a fwelle'd one, fimilar to that of the Bafilica of Antoninus. : His whole 
 entablature is too low; being only one fifth of the column: and it is remarkable, 
 that, though he has made the column more delicate, than in the Corinthian order, 
 yet his entablature is made far more maffive; being compofed of fewer and much 
 larger parts. In the defign given on the fecond plate of the Compofite order, 
 Palladio's meafures have been clofely obferved : but if the frize were augmented, 
 fo as to raife the entablature to two ninths of the column; made upright, and 
 enriched with ornaments ; it would be more perfefi : and might be employed with 
 fuccefs, in works of large dimenfions, which require to be feen from a confiderable 
 diftance. But for interior decorations, or in places where much delicacy is required ; 
 the compofition is fomcwhat too maffive. 
 
 Palladio's capital and bafe, are imitations from the arch of Titus. The 
 latter of them is defigned without a plinth, as it is executed in the temple of Vefta, 
 at Tivoli ; and joined to the cornice of the pedeftal, by a flope : which not only 
 has a bad efted, but is in itfelf defedive ; becaufe the bafe is thus diverted of its 
 principal member, and rendered difproportionate. 
 
 Vignola's Compofite, has nothing in it remarkable. The architrave differs 
 but little, from that of the frontifpiece of Nero ; and the cornice is nearly the fame, 
 with that of his Ionic order : the principal difference confifting in the tranfpofition 
 of fome mouldings, and enlargement of the dentils ; both which feem rather altera- 
 tions for the worfc, than improvements. 
 
 Scamozzi's entablature being like Palladio's, only one fifth of the column, 
 and much divided, has a trifling appearance : the cornice however is, upon the 
 whole, well compofed; and in a great meafure, imitated from that of the third 
 order of the Colifeum ; the capital is much like Palladio's, and the bafe is Attic 
 enriched with aftragals, as at the Bafilica of Antoninus. 
 
 The defign which I have given in the firft plate of the Compofite order, is an 
 invention of my own; in which I have attempted to avoid the faults, and unite the 
 perfedions, of thofe abovementioned : how far with fuccefs, is left to the reader's 
 determination: and at any rate, recourfe may Ml be had to Palladio, Scamozzi, 
 or Vignola, as heretofore. The height of the column is twenty modules, that of 
 the entablature, five : the bafe is Attic, and its meafures are the fame, as in the 
 Doric or Ionic orders ; but as the module is lefs, all its parts are of courfe propor- 
 tionably more delicate. The fhaft is enriched with flutings, which may either be 
 to the number 'of twenty, or of twenty-four, as on the Ionic column : for there is 
 no reafon why in different orders, their number fhould either be augmented or 
 diminifhed ; the module being lefs, the flutes will likewife be lefs, and correfpond 
 exa&ly with the character of the reft of the compofition. 
 
 The 
 
5§ Of the COMPOSITE ORDER. 
 
 _ The capitaHs of the kind, which all the moderns have employed in this order • 
 being enriched with leaves of the acanthus, as all the antioue^apital of hi fort 
 are With regard to the method of tracing it, few direffions wifl fuffice- for the 
 defigns are exaftly drawn and figured. The curvatures of the abacus a e defo ibed 
 from the fummits of equilateral triangles : the projeffion of the volutes ' ■ dete mS 
 by a line drawn from the extremity of the aftragal, to the extremity of a hom of the 
 abacus ; and the projedion of the leaves, is determined by anothe, line drawn 
 parallel to that; from the fillet under the aftragal. 
 
 The manner of executing both thefe, and all other enriched capitals in this 
 
 S §en f er 7 Peakmg ' bad 1 do not > however ' ™ean to accufeour Cffi 
 wo.kmen of incapacity, many of them are excellent; and in neatnefs of execurion 
 out-do perhaps, thofe of any other country : but, fometimes from he parf mony 
 of heir employers, and in fome degree perhaps, for want of thorou.h^i 1 and 
 facility in defign, then- performances are often infipid, without intentmn o effeft 
 and by no means expreffive, e.ther of the tafte or intelligence of the performer ' 
 
 Many even of our greater! architect, have too much ncalefted the detail- 
 laving employed their attention wholly, on the general difpofition fk h cZ.' 
 fitions. This negleft though authonfed by great examples, ought by no means 
 to be mutated : it is the bufinefs of the architect, to attend to the minuteu ob efts 
 as well as to the moft considerable. If the entire execution of the faZck be left to 
 his diredion, the faults that are committed, will of courfe be ftated to his account 
 and therefore it will be prudent in him to fcleft the ableft workmen and to fum fo" 
 them with proper models, and precife inftruffions ; in which heTviUlhew the ™ 
 of his capacity, and diftinguiflr himfelf from the common herd o ' hofe Jh w T 
 
 feet nMl I" 1 "" 1* taken , in C ° m P ofite ' as as in Corinthian capitals, that the 
 commn, as at bt. Cailo in the Corfo at Rome, and at the Banquetine-Houfc in 
 
 f om between the upper leaves, are to be kept low upon the vafe of £ cap T 
 olutes S . r Cen leaVCS ; , then f P rm S S raduall X fo -ards, to form the dffeS 
 
 have been exerntrH Zw? * ! buildings, ancient or modern, in which they 
 have been executed with care and judgment. The Ionic, Compofite, and Cor- 
 
 inthian 
 
,-„■■■ ... 
 
Of the COMPOSITE ORDER. 59 
 
 inthian capitals, to be feen in various parts of Somerfct Place; were copied from 
 models, executed under my diredion at Rome; and imitated, both in point of 
 forms and manner of workmanfhip, from the choice!! antique oridnalsf They 
 may ferye as guides to fuch, as have had no opportunity of examining the buildings, 
 from which thefe models were collected. 
 
 The parts of the entablature, bear the fame proportion to each other, as in 
 Tn Tj- Tu fcan orders. The architrave is nearly of the fame form with thofe 
 ot Palladw and Vignola, and that of the Bafihca of Antoninus. The frize is enriched 
 with foliages, m imitation of thofe on the frize of Nero's frontifpiece • cf which the 
 moft prominent parts, mould never prqjeft more than doth the uppermoft moulding 
 ot the architrave under them. ° 
 
 _ THE cornice is imitated from Scamozzi, and differs from the Corinthian only 
 in the modilhons ; which are fquare, and compofed of two fafcias. The fo'ffit of 
 the intervals between the dentils, mult be hollowed upwards behind the little fillet 
 in front as they are in moft of the antiques ; which occafions a dark fhade that 
 marks the dentil more diftinffly. And the fame method muft be obferved in the 
 Ionic and Corinthian orders, for the fame reafon. The rofes, in the foffit of the 
 corona, are not to projeft beyond its horizontal furface; and care muft be taken 
 not to vary them fo much as at St. Peter's of the Vatican, becaufe the unity of the 
 compofition fuffers thereby : the modillions or dentils, might with almoft as much 
 propriety be varied. It will be proper therefore, in fmall compofitions, to make 
 them all alike, as they are m moft of the antiques ; that fo, they may not ftrike 
 nor occupy the attention of the beholder as objeas for diftinft contemplation' 
 but as parts, of one great whole. In larger compofitions, they may be of two kinds] 
 but fimilar in out-line and dimenfion ; which occafions more variety, yet without 
 confufion: for then, the images fucceed each other fo rapidly, and are from their 
 fimihtude, fo mftantaneoufiy comprehended ; that the third impreflion takes place 
 before the firft is in any degree obliterated : fo that nearly the fame efted is pro- 
 duced, as by a continued fucceffion of the fame object. 
 
 But though this variety be pradifed, and is to a certain degree, allowable in 
 fmall objeas, which the eye perufes at a glance; or in fuch, as being merely 
 acceffory, may or may not be introduced, and do not aff e a the general out-line, 
 or bent of the compofition ; yet, it is by no means to be tolerated in columns, and 
 other principal or effential parts; which, from the number of their conftituent 
 points, are not conveyed to the mind at once, either with eafe or perfea clearnefs; 
 and therefore, if varied, cannot fail of exciting confufed ideas. 
 
 In the fourth book of Palladio, we find, among other ancient temples, one, 
 of which the portico confifts of four Corinthian columns, and two pilafters. The 
 pilafters are fluted in a perpendicular direaion ; two of the columns are fluted 
 fpirally ; and the other two have the fhafts covered with laurel leaves : a variety, 
 abfurd as unpleafing ; which totally deftroys the general effea of the compofition,' 
 and conveys no idea, but that of a ftruaure made up of difcordant fragments, as 
 they happened to come in the builder's way. 
 
 E e The 
 
6o Of the CORINTHIAN ORDER. 
 
 The Romans ufcd the Compofite order, more frequently in their triumphal 
 arches, than in any other buildings ; meaning, as Serlio fuppofes, to cxprefs then- 
 dominion over thole nations, that invented the orders of which this is compofed. 
 It may, fays Le Clerc, be ufed with propriety, wherever elegance and magnificence 
 arc to be united ; but it is more particularly adapted to buildings, defigned to 
 commemorate fignal events, or celebrate the virtues and atchievements of conquerors, 
 and legiflators : becaufc the capitals, and other ornaments may be compofed of 
 emblems, and of allufive reprefentations ; agreeable to the cuftom of the ancients : 
 as appears, by very many fragments of capitals, and other members of architecture, 
 fcattered about, in different parts of Rome, and elfewhere. Some of thefe, are 
 reprefented in the fecond plate of the Compofite order ; and more may be found in 
 the works of Montano, Le Clerc, Piranefi, and others, of whofe works the reader 
 will find a catalogue, in the ABECEDARIO pittonco. 
 
 The Compofite entablature may be reduced to two ninths of the column, 
 (which to avoid fractions, I fhall call four modules and a half.) by making the 
 module only nine tenths of the femi-diameter, and obferving the fame meafures, as 
 are figured in the delign ; and there then will be a dentil in the outward angle, as in 
 the Ionic order. It may likewife, if required, be reduced to one fifth, by making the 
 module four fifths of the femi-diameter. Though, in cafes where it may be necef- 
 fary to diminifh fo much, it will always be better to employ the Ionic cornice : which, 
 being compofed of fewer parts, will ftill retain an air of grandeur, notwithftanding 
 the fmallnefs of the general mafs. 
 
 Most authors give to the Compofite order the laft place, as being laft invented, 
 and a compound ; which of courfe, ought to be preceded by all the fimples. I have 
 however followed Scamozzi's arrangement ; his appearing to me, the moft natural : 
 for his orders fucceed each other, according to their degree of ftrength, and in the 
 progreffion, that mull abfolutely be obferved, whenever they are to be employed 
 together. 
 
 Of the CORINTHIAN ORDER. 
 
 riOHE three columns in the Campo Vaccino, fuppofed remains of the temple 
 I of Jupiter Stator ; are generally allowed to be, the moft perfect models of 
 the Corinthian order amongft the antiques at Rome. Palladio in his fourth 
 book, where he gives the whole profile at large ; acknowledges that he never had 
 feen any work better executed, or more delicately finifhed ; that its parts are 
 beautifully formed, well proportioned, and fkilfully combined; all which laft 
 qualities, arc certainly lignified, by his Beniffimo Inteji. 
 
 With thefe favorable fentiments, it is extraordinary, that in his defign of 
 the Corinthian order, he lhould fo very confiderably deviate from this excellent 
 original, as fcarcely to leave the fmalleft fhadow of refemblance. 
 
 VlGNOLA, 
 
Of the CORINTHIAN ORDER. 
 
 61 
 
 Vignola, in his Corinthian profile, has chiefly imitated the abovementioned 
 fragment, and the interior order of the Pantheon, another very perfect model. 
 His compofition is uncommonly beautiful, and without difpute, fuperior to that of 
 any other taafter: he, having artfully collefted all the perfections of his originals, 
 and formed a whole, far preferable to either of them. 
 
 The defign which I have given, differs but little from that of Vignola. The 
 column is twenty modules high, and the entablature five ; which proportions, arc 
 a medium between thofe of the Pantheon, and of the three columns. The bafe of 
 the column, may be either Attic or Corinthian : both are beautiful. Palladio and 
 Scamozzi have employed the Attic bafe enriched with aftragals ; but lb frequent 
 a repetition of the fame femi-circular forms in junction, has a very indifferent effect ; 
 as may be obferved at the church of St. Martin in the Fields, at the Bank, and in 
 various other buildings of this city : in which, the profiles and forms of Palla- 
 dio, good, bad, or indifferent, have indifcriminately been employed. 
 
 If the entablature be enriched, the fhaft of the column fliould be fluted ; 
 provided it be not compofed of variegated marble: for a diverfity of colours 
 renders even fmooth furfaces confufed, and ornaments of fculpture only ferve to 
 make the confufion greater. The flutings may be filled to one third of their height, 
 with cablings, as on the infide order of the Pantheon ; which ftrengthen the lower 
 part of the column, and make it lefs liable to damage. But when the columns are 
 not within reach, nor fubject to be hurt by paffengers, the cables are better omitted : 
 as the general hue of the fhaft will then be the fame throughout, and fcem of a 
 piece ; which, when a part of the flute is filled, and the other part left empty, is 
 not the cafe : for the fhaft then appears divided, and is lefs calculated to produce a 
 great effect. 
 
 In fomc very rich buildings, the cablings are compofed of reeds, hufks, fpiral- 
 twifted ribbands, flowers, and various other ornaments. At the Thuilleries in 
 Paris, there are fome Ionic columns exquilitely wrought in this manner ; one of 
 them by Jean Gougeon's own hand, and the reft under his immediate inflection. 
 
 It is however, far better to referve fuch niceties for interior decorations. In 
 exterior compofitions, whatever doth not contribute to the forcible effect of the 
 whole ftructure, is in a great meafure ufelefs, fometimes even detrimental; and 
 an expence, which might more judicioufly be employed, where it would be more 
 attentively confidered. In general, it may be laid down as a maxim, that exceffive 
 ornaments, though they may, and often do, increafe the magnificence of a building, 
 almoft always deftroy, more or lefs, the grandeur of its effect. Parts in themfelves 
 large, formed and difpofed to receive broad maffes, or ftrong oppofitions of light 
 and fhade, muft neceffarily excite great ideas : but when thefe parts are broken into 
 a number of fmall divifions, and their furfaces fo varied, as to catch a thoufand 
 fpotty impreffions of light, demi-tints, and darknefs, the whole, will of courfe, 
 form a confufed appearance of trifling objects, which divide the attention, and 
 are utterly incapable of exciting any powerful emotions whatever. 
 
 F f 
 
 The 
 
62 
 
 Of the CORINTHIAN ORDER. 
 
 The capital is enriched with olive leaves, as are almoft all the antiques at 
 Rome, of this order ; the acanthus being feldom employed, but in the Compofite. 
 I)e Cordemoy, however, prefers the acanthus ; and obferves that the flexible fprigs, 
 w hich accompany the leaves of that plant, may more naturally be fuppofed to form 
 the contour of the volutes, than the ftiff branches of a laurel, or an olive tree. 
 " Strange it is, fays he, that we foon ceafe to efteem what is natural : nature and 
 " reafon muft always be violated, and thus a confufed jumble of little pointed leaves 
 " of an olive, or a laurel, is preferred to the Ample and graceful outline of the 
 " acanthus." 
 
 De Cordemoy's obfervation is, ftrictly fpeaking, juft ; yet to variety, fome- 
 thing muff be facrificed, fome liberties taken ; and both the ancient as well as 
 modern fculptors, have, by uniting feveral olive, laurel, or parfley leaves together, 
 to form diftinct bunches ; feparated by filaments between which they feem to grow ; 
 contrived to compofe leaves : different in appearance from the acanthus indeed, yet, 
 neither more confufed, nor lefs graceful than that. 
 
 With rcfpect to the manner of tracing and working this capital, the defigns 
 with what has been faid on the fame fubject in the Compofite order, will ferve as a 
 fufficient explanation. 
 
 The divifions of the entablature bear the fame proportion to each other, as in 
 the Tufcan, Ionic, and Compofite orders. The frize is enriched with a bafs relief, 
 compofed from various fragments in the Villa Medici at Rome. The parts and 
 ornaments of the cornice, are all regularly difpofed, and perpendicularly over each 
 other : the coffers in the foffit of the corona are fquare, and the borders round 
 them equal on all fides ; as they are in the arch of Titus, and as Palladio has 
 made them : a precaution neglected by Vignola, notwithftanding his ufual regu- 
 larity. 
 
 The ancients frequently employed the Ionic entablature in the Corinthian 
 order, as appears by many of their buildings ; and fometimes, according to Vitru- 
 vius, even the Doric : though of the latter practice, there is not now, that I know 
 of, any example extant. The fame author obferves, that the Greeks in their works, 
 never employed the dentils under the modillions ; becaufe the rafters, which are 
 reprefented by the dentils, could never in reality be placed under the beams or 
 joifts, which are reprefented by the modillions. However this may be, we are 
 certain that the Romans were not fo very fcupulous ; for in their moft efteemed 
 works, mch as the temple of Jupiter Stator, the forum of Nerva, the temple of 
 Jupiter Tonans, and feveral others ; we find the dentils placed under the modillions. 
 Thefe examples will fufficiently authorife the fame practice. The origin or reafon 
 of things of this nature, are remote ; and known to but few : while the general effect 
 of a compofition, is obvious to all. If deviating therefore, from what is little 
 known, and lefs felt ; will eminently contribute towards the perfection of that which 
 all fee, and all approve; it cannot juftly be cenfured. 
 
 This liberty, however, of deviating from the origin or reafon of things, was 
 by the ancients ; and muft by us, be exercifed with great caution : as it opens a 
 
 wide 
 
Of the CORINTHIAN ORDER. 63 
 
 wide door to whim and extravagance, and leaves a latitude to the compofer, which 
 often betrays, and hurries him into ridiculous abfurdities. Bernini, fometimes 
 quitted the beaten road with judgment; but Boromini, firft his fcholar, and at 
 length his rival; in attempting to conquer by novelty, and quitting the ancient 
 rules, was fubmerged in an ocean of extravagance. Thus, fays the author of his 
 life, from being among the firft men of his time for abilities and extent of genius, 
 Boromini funk to a level with the laft, by a ridiculous application of his talents. 
 
 I do not know who firft introduced among us, the favorite ornament of 
 feftoons ftanding up like arches, inftead of hanging down as nature directs ; nor do 
 I recoiled the name of him, who in the church of St. Romolo at Florence, has for 
 the fake of variety, placed the capitals at the feet of his columns : but felecl thefe 
 fafis, as abfurd inftances among others, of the length to which innovators may carry 
 any fyftem unreftrained by rules, and fubjetl to no other laws, than the crude 
 momentary effufions of a vitiated fancy. Things evidently abfurd, no time nor 
 authority, can fanftify. 
 
 When the modillion cornice is employed on large concave furfaces, the fides 
 of the modillions and coffers of the foffit, fhould tend towards the center of the 
 curve ; as in the Pantheon : but when the concave is fmall, it will be better to direct 
 them towards the oppofite point in the circumference, that the contraction may be 
 lefs perceptible, and the parts dependent thereon, fuffer lefs deviation from their 
 natural form. The fame rules muft be obferved with regard to dentils, to the 
 abacus and bafes of columns or pilafters, and likewife to the flanks of the pilafter 
 itfelf. But on a convex furface, the fides of all thefe fhould be parallel to each 
 other, for it would be unnatural, and very difagreeable to fee them narroweft where 
 they fpring out of the cornice, diverging as they advance forwards, forming fharp 
 angles, and a fort of mutilated triangular plan, with enlarged folids, and diminilhed 
 intervals : all calculated to deftroy, the ufual proportions and beauty of the com- 
 polition. 
 
 The Corinthian entablature may be reduced to two ninths, or one fifth of the 
 height of the column, by the fame rules as are given in the Ionic and Compofite 
 orders : but where it becomes neceffary, or is judged expedient, to make the enta- 
 blature fo fmall as one fifth, it will, I apprehend, be beft to fubftitute the Ionic 
 entablature, as Palladio has done in the Periftyle of his Olympic Theatre at Vicenza, 
 and in many others of his buildings : or elfe, to retrench the dentils of the cornice, 
 as in one of Serlio's, and in Scamozzi's profiles ; the part of the cornice under the 
 modillion-band, remaining then compofed of only the ovolo and ogee, feparated 
 by a fillet : as in the temples of Trevi and Scifi in Umbria, mentioned in Palladio's 
 fourth book. 
 
 The Corinthian order is proper for all buildings, where elegance, gaiety, and 
 magnificence are required. The ancients employed it in temples dedicated to 
 Venus, to Flora, Proferpine, and the nymphs of fountains; becaufe the flowers, 
 foliage, and volutes, with which it is adorned, feemed well adapted to the delicacy 
 and elegance of fuch deities. Being the moll fplendid of all the orders, it is 
 extremely proper for the decoration of palaces, public fquares, or galleries and 
 arcades, furrounding them ; for churches dedicated to the Virgin Mary, or to other 
 
 G g virgin 
 
<H Of PILASTERS. 
 
 virgin faints: and on account of its rich, gay, and graceful appearance, it may 
 wrth propriety be ufed m theatres, in ball or banquetting rooms, and in all places 
 conlecrated to leltive mirth, or convivial recreation. 
 
 Of PILASTERS. 
 
 PILASTERS are, I believe, a Roman invention, and certainly an improvement. 
 1 he Greeks employed antae in their temples, to receive the architraves where 
 they entered upon the walls of the cell. Thefe, tho they were in one direct 
 tion of equal diameter with the columns of the front, were in flank, extravagantly 
 thin m proportion to their height ; and neither their bafes nor capitals, bore any 
 reiemblance to thofe of the columns they accompanied. The Roman artifts, 
 difgufted probably, with the meager afpeft of thefe ante, and the want of accord 
 in their bafes and capitals, fubftituted pilafters in their places; which, being; 
 proportioned and decorated in the fame manner with the columns, are certainly 
 more leemly, and preferve the unity of the compofition much better. 
 
 Pilasters differ from columns in their plan only; which is fquare, as that 
 of the column is round. Their bafes, capitals, and entablatures, have the feme 
 parts, with all the fame heights and projeftions, as thofe of columns; and they are 
 dilhnguimed m the fame manner, by the names of Tufcan, Doric, Ionic, Compofite, 
 and Corinthian. r ' 
 
 Of the two, the column is, doubtlels, moll pcrfca. Neverthelefs, there are 
 occahons, in which pilafters may be employed w.th great propriety; and fome, 
 where they are, on various accounts, even preferable to columns. 
 
 I AM not ignorant that fcveral authors are of a different opinion : a certain 
 French Jcfu.t in particular; who fome thirty years ago, firft publiflred an eflay on 
 arcnitefture, which Irom its plaufibility, force and elegance of diftion, went through 
 feveral editions; and operated very powerfully on the fuperficial part of European 
 connoiffeurs He inveighs vehemently againft pilafters, as againft almoft every 
 other architeaomc form but fuch, as were imitated by the firft builders in ftore 
 horn the primitive wooden huts: as if, in the whole catalogue of arts, arehitefture 
 lhould be the only one, confined to its priftihe fimplicity, and fecluded from any 
 deviation or improvement whatever. 
 
 Hph/h P I T S ' the r e % lft ob J eas - bcc ^ufe they are, in his opinion, nothing 
 fiS^S f reprefentations of columns. Their angles (fays he) indicate the 
 formal ftiffnefs of art, and are a linking deviation from the fimplicity of nature- 
 their projeclions, fharp and inconvenient, offend and confine the eye- and their 
 urfaces without roundnefs, give to the whole order a flat air: they are not fufcep- 
 tible of diminution one of the moft pleafing properties of columns ; they are never 
 Zt^™i*^*V^^ h -sthem: his averfion'was firft innate, 
 
 Concerning 
 
Of PILASTERS. 
 
 65 
 
 Concerning the reverend father's inborn averfion, much need not befaid; 
 and feveral others of his objections, as they confift more of words than meaning, 
 feem not to require any refutation ; but, to affert that pilafters are not fufceptible 
 of diminution, fhews very little acquaintance either with books of architeaure, or 
 with buildings : there are many inftances in the remains of antiquity, of their being 
 diminifhed, particularly when accompanying columns ; they are fo in the temple 
 of Mars the avenger, in the frontifpiecc of Nero, in the portico of Septimus Severus, 
 and in the arch of Conftantine, all at Rome. Scamozzi always gave to his pilafters, 
 the fame diminution as to his columns : Palladio has diminifhed them in the church 
 of the Redentore at Venice, and in many others of his buildings ; as Inigo Jones 
 has likewife done in many of his; particularly at the Banquettinff-Houfe at 
 Whitehall. 
 
 And if we go back to the origin of things, and confider pilafters, either as 
 reprefenting the ends of partition walls, or trunks of trees, reduced to the diameter 
 of the round trunks which they accompany, but left fquare for greater ftrength ; the 
 reafon for diminifhing them will, in either cafe, be ftrong and evident. 
 
 It is likewife an error to affert, that pilafters arc never neceffary ; but that 
 columns will at all times, anfwer the fame end : for, at the angles of all buildings, 
 they are evidently neceffary, both for folidity and beauty ; becaufe the angular fup- 
 port, having a greater weight to bear than any of the reft, ought to be fo much 
 the ftronger ; fo that its diameter muft either be increafed, or its plan altered from 
 a circle to a fquare; the latter of which is certainly the moft reafonable expedient, 
 on feveral accounts ; but chiefly as it obviates a very ftriking defeft ; occafioned by 
 employing columns at the angles of a building ; which is, that the angle of the 
 entablature is left hanging in the air without any fupport : a fight very difagreeable 
 in fome oblique views, and in itfelf very unfolid. 
 
 It is indeed cuftomary in porches, and other detached compofitions, to employ 
 columns at the angles ; and it is judicious fo to do : for of two defecls, the leaft is 
 to be preferred. And although father Laugier, the writer whofe objecf ions I have 
 juft now cited, could fee no reafon for rejecting detached pilafters, when engaged 
 ones were fuffered ; yet there is a very fubftantial reafon, which is, that a detached 
 pilafter in fome oblique views, appears thicker than it does in front, nearly in the 
 ratio of feven to five ; and confequcntly if, when feen in front, it appears well 
 proportioned in itfelf, and with regard to the columns it accompanies ; it never can 
 appear fo, when viewed upon the angle ; as may be obferved in the colonades of 
 the great court at Burlington-Houfe in Piccadilly, and at the porch of St. George's 
 Church, near Hanover-Square. 
 
 Engaged pilafters are employed in churches, galleries, halls, and other inte- 
 rior decorations, to fave room : for as they feldom proje£l beyond the folid of the 
 walls, more than one quarter of their diameter, they do not occupy near fo much 
 fpace, even as engaged columns. They are likewife employed in exterior decora- 
 tions ; fometimes alone, inftead of columns, on account of their being lefs expenfive ; 
 as at the Duke of Queenfbury's Houfe in Burlington-Gardens ; General Wade's 
 Houfe in the fame place ; and in many other buildings here in London. At other 
 
 H h times, 
 
66 
 
 Of PILASTERS. 
 
 times, they accompany columns ; being placed behind them to fupport the fpringing 
 of the architraves, as in the Pantheon at Rome ; and in the porch of St. Martin 
 in the Fields, Weftminfter : or on the fame line with them, to fortify the angles ; 
 as in the portico of Septimus Severus at Rome, and in the church of St. Laurence 
 of the Jewry in London. Blondel fays, they may likewife be employed inftead 
 of columns, detached to form periftyles and porticos : but there is no inftance of 
 this, that I remember, in all the remains of antiquity ; neither has any modern 
 architect, I believe, been fo deftitute of tafte, as to put it in practice. 
 
 When pilafters are ufed alone, as principal in the compofition ; they mould 
 project one quarter of their diameter beyond the walls, as Scamozzi teaches, and 
 as they do at the Banquetting-Houfe, Whitehall ; which gives them a fufficient 
 boldnefs, and, in the Corinthian and Compofite orders, is likewife moft regular ; 
 becaufe the Items of the volutes, and the fmall leaves in flank of the capital, are 
 then cut exactly through their middles : but if the cornice of the windows mould 
 be continued in the inter-pilafter, as is fometimes ufual ; or if there mould be a 
 cornice, to mark the feparation between the principal and fecond ftory, as at the 
 Manfion-Houfe of London ; or large imports of arches ; the projection muft in fuch 
 cafes, be increafed ; provided it is not otherwife fufficient to ftop the moft promi- 
 nent parts of thefe decorations ; it being very difagreeable, to fee feveral of the 
 uppermoft mouldings of an import or cornice, cut away perpendicularly, in order 
 to make room for the pilafter, while the cornice or import on each fide, projects 
 confiderably beyond it; as has been done at St. Peter's of the Vatican, as well as in 
 feveral other buildings of Rome, and other towns of Italy. Mutilations, are on all 
 occafions, ftudioufly to be avoided, as being deftructive of perfection ; and Itrong 
 indications, either of inattention or ignorance in the compofer. 
 
 When pilafters are placed behind columns, and very near them, they need 
 not project above one eighth of their diameter, or even lefs ; excepting there mould 
 be imports, or continued cornices in the inter-pilafter : in which cafe, what has been 
 faid above, muft be attended to : but if they be far behind the columns, as in 
 porticos, porches, and periftyles, they fhould project one fixth of their diameter at 
 leaft ; and when they are on a line with columns, their projection is to be regulated 
 by that of the columns ; and confequently, it never can be lefs than a femi-diameter, 
 even when the columns are engaged as much as poffible. This extraordinary pro- 
 jection, however, will occafion no very great deformity ; as the largeft apparent 
 breadth of the pilafter will exceed the leaft, only in the ratio of eleven to ten, or 
 thereabouts. But if columns be detached, the angular pilafter fhould always be 
 coupled with a column, to hide its inner flank ; as in the portico of Burlington- 
 Houfe : becaufe the pilafters will otherwife appear difproportionate, when feen from 
 the point of view proper for the whole building ; efpecially, if the fabrick be fmall, 
 and the point of view near. 
 
 It is fometimes cuftomary to execute pilafters without any diminution : in the 
 antiques, there are feveral inftances thereof, as well as of the contrary practice ; and 
 Palladio, Vignola, Inigo Jones, and many of the greateft architects, have frequently 
 done fo. Neverthelefs it is certain, that diminifhed pilafters are, on many accounts, 
 much preferable. There is more variety in their form ; their capitals are better 
 proportioned, both in the whole, and in their parts, particularly in the Compofite 
 
Of PILASTERS. 
 
 67 
 
 and _ Corinthian orders; and the irregularities occafioned by the paffage of the 
 architraves, from diminifhed columns, to undiminished pilafters, are thereby 
 avoided; as are likewife the difficulties of regularly distributing, the modillions 
 and other parts of the entablature, either when the pilafters are alone, or accom- 
 panied with columns* 
 
 Another difagreeable effeft of undiminished pilafters, is likewife obviated by 
 rejaing them: indeed, I am at a lofs to account for it; and, as it is diametrically 
 oppofite to a received law in optics, I imagined it might be the refult of fome defect: 
 in _ my own fight; till by enquiry, I found others were affe£ted in the fame manner. 
 It is this ; the top of the fhaft always appears broader than the bottom ; as any one 
 may obferve, by calling a glance on the pilafters of St. Paul's ; of St. George's, 
 Hanover-Square; or any others that are not diminifhed. The author of I'Efprit 
 des Beaux Arts, accounts for a fimilar effed, in a manner more fubtle, I believe, 
 than true. He makes it to be the refult of a nice comparifon, between the real and 
 the apparent diftance; which, to me feems to have little, or rather no fhare at all 
 in it. An ingenious * writer of our own country bbferves, that the fenfes ftrongly 
 affefted in fome one manner, cannot quickly change their tenor, or adapt themfelves 
 to other things ; but continue in their old channel, until the ftrength of the firft 
 mover decays: this being admitted, it is not improbable, that the capital, which is 
 immediately above the fhaft ; being considerably broader, and certainly the firft 
 attractive objeft ; may have an influence on the apparent upper breadth of the fhaft, 
 and occafion the effecf abovementioned. Perhaps too, the light may in fome mea- 
 fure contribute thereto, it being Stronger at the foot of the Shaft, than towards its 
 top. 
 
 The Shafts of pilafters are Sometimes adorned with Slutings, in the Same manner 
 as. thofe of columns; the plan of which maybe a trifle above a femi-circle : and 
 they muft be to the number of feven on each face, which makes them nearly of the 
 fame fize with thofe of the columns. The interval between them muft be either 
 one third, or one fourth of the flute in breadth ; and when the pilafter is placed 
 on the pavement, or liable to be broken by the touch of paffengers, the angle may 
 be rounded off, in the form of an aftragal ; between which and the adjoining flute, 
 there muft be a fillet, or interval, of the fame fize with the reft ; as in the porch 
 of the Pantheon at Rome. 
 
 The flutes may, like thofe of columns, be filled with cablings to one third 
 of their height ; either plain and fhaped like an aftragal, or enriched, according as 
 the reft of the compofition is fimple, or much adorned. Scamozzi is of opinion, 
 that there Should be no flutings on the fides of engaged pilafters, but only in front : 
 and whenever cornices or imports are continued home to the pilafter, this Should 
 particularly be attended to; that the different mouldings of thefe members, by 
 entering into the cavities of the flutes, may not be cut off in irregular and difagree- 
 able forms. But if the flanks of the pilafter are entirely free, it may be as well to 
 enrich them in the fame manner as the front, provided the flutes can be fo distri- 
 buted, as to have a fillet or interval adjoining to the wall ; which is always neceffary, 
 to mark the true fhape of the pilafter distinctly. 
 
 • See Burke's Enquiry into the Origin of our Ideas of the Sublime and Beautiful. 
 
 The 
 
68 
 
 Of PILASTERS, 
 
 The capitals of Tufcan or Doric pilafters, are profiled in the fame manner as 
 thofc of the refpeftive columns : but in the capitals of the other orders, there are 
 fome trifling differences to be obferved. In the antique Ionic capital, the extraordi- 
 nary projection of the ovolo makes it neceffary, either to bend it inwards confiderably 
 towards the extremities, that it may pafs behind the volutes ; or, inftead of keeping 
 the volutes flat in front, as they commonly are in the antique ; to twift them outwards, 
 till they give room for the paffage of the ovolo. Le Clerc thinks the latter of thefe 
 expedients, the belt ; and, that the artifice may not be too ftriking, the projection 
 of the ovolo may be confiderably diminifhed, as in the annexed defign* ; which, 
 as the moulding can be feen in front only, will occafion no difagrceable effect. 
 
 The fame difficulty fubfifts, with regard to the paffage of the ovolo behind 
 the angular Ionic volutes : Le Clerc therefore advifes to open, or fpread the volutes 
 fufficiently, to leave room for the ovolo to pafs behind them, as in the defign t 
 annexed ; which may eafily be done, if the projection of the ovolo is diminifhed, 
 Inigo Jones has in the Banquetting-Houfe, made the two fides of the volutes parallel 
 to each other, according to Scamozzi's manner ; and at, the fame time has continued 
 the ovolo in a ftraight line under them : fo that the volutes have an enormous 
 projection, which added to the other faults of thefe capitals, renders the whole 
 compofition unufually defective, and exceedingly ugly. 
 
 What has been faid, with regard to the paffage of the ovolo behind the volutes 
 in the Ionic order, is likewife to be remembered in the Compofite : and in the 
 Corinthian, the lip, or edge of the vafe or bafket, may be bent a little inwards, 
 towards its extremities ; by which means, it will eafily pafs behind the volutes. 
 The leaves in the Corinthian and Compofite capitals, mult not project beyond the 
 top of the fhaft, as they do at St. Carlo in the Corfo at Rome, and at the Banquet- 
 ting-Houfe, Whitehall : but the diameter of the capital, mult be exactly the fame 
 as that of the top of the fhaft. And to make out the thicknefs of the fmall-bottom 
 leaves, their edges may be bent a trifle outwards ; and the large angular leaves 
 may be directed inwards, in their approach towards them ; as in the annexed 
 defign j : and as they are executed in the church of the Roman College at Rome. 
 Where the fmall leaves have a confiderable thicknefs, though the diameter of the 
 capital is exactly the fame as that of the fhaft. In each front of the Compofite or 
 Corinthian pilafter-capital, there muft be two fmall leaves, with one entire, and 
 two half large ones : they muft be either of olive, acanthus, parfley, or laurel ; 
 maffed, divided, and wrought in the fame manner as thofe of the columns are ; the 
 only difference being, that they will be fomewhat broader. 
 
 The employing half, or other parts of pilafters, that meet, and as it were 
 penetrate each other, in inward or outward angles, mould as much as poffible be 
 avoided ; becaufe it generally occafions feveral irregularities in the entablatures, and 
 fometimes in the capitals alfo. Particular care muft be taken, never to introduce 
 more than one of thefe breaks in the fame place ; for more can never be neceffary. 
 In many of the churches at Rome, we fee half a dozen of them together ; which 
 
 » PI. of Pilafters, fig. a. t PL of Pilafters, fig. i. t PI. of Pilafters, fig. 3. 
 
 produces 
 
Of PERSIANS and CARYATIDES. 69 
 
 produces a long feries of undulated capitals and bafes, and a number of mutilated 
 parts in the entablature : than which, nothing can be more confufed or difa- 
 greeable. 
 
 Instead of pilafters, it is fometimes cuftomary to employ columns, that 
 penetrate each other in the inward angle. There are feveral inftances of this at 
 Paris, particularly about the Louvre ; but it is a practice univerfally condemned, 
 and the bad effect thereof may be feen on the front of the Royal Exchange towards 
 Cornhill, and within the Banquetting-Houfe at Whitehall. 
 
 Of PERSIANS and CARYATIDES. 
 
 BESIDES columns and pilafters, it is fometimes cuftomary to employ repre- 
 fentations of the human figure, to fupport entablatures in buildings. The 
 male figures are called Perfians, Telamones, or Atlantides ; and the females 
 Carians, or Caryatides. The origin of this cuftom, Vitruvius tells us, is as 
 follows. 
 
 The inhabitants of Caria, a city of the Peloponnefus, having joined the 
 Perfians in a war againft the reft of the Greeks ; and that war, being terminated 
 by the defeat of the Perfians, the Greeks commenced hoftilities againft the Caryates, 
 took their city, demolifhed it, and putting all the males to the fword ; carried the 
 females into captivity : and to treat them with ftill greater ignominy, they forbad 
 the ladies to diveft themfelves of their robes, or any of their ornaments ; that fo, 
 they might not only be once led in triumph, but in a manner, fuffer the morti- 
 fication of a triumph all their lives after ; by appearing conflantly in the fame 
 drefs, as on the triumphal day. And further, as an everlafting teftimony of the 
 punifhment inflicted on the Caryates, and to inform poflerity what had been the 
 nature of their chaftifement ; the architects of that time, inftead of columns, 
 employed the reprefentations of thefe women, to fupport the entablatures of their 
 public buildings. 
 
 The Lacedemonians did the fame thing after the battle of Platea ; erecting, 
 with the fpoils taken from the enemy, a gallery ; which they called Perfian : wherein 
 ftatues, in the form of captive Perfians, with their ufual dreffes, lupported the 
 arches ; intending thereby to punifh that nation in fuch a manner, as its pride had 
 merited ; and to leave poflerity, a monument of the valour and victories of the 
 Lacedemonians. 
 
 The introduction of figures of men and animals to fupport burthens in 
 buildings, or otherwife ; had certainly an earlier origin, than that afcribed to it 
 by Vitruvius. It feems to have been a very early and favourite idea, among feveral 
 people of the remoteft antiquity. Homer mentions the practice in the feventh book 
 of the Odyffey, and I think, in one or more other places of his poems. Hiram's 
 molten fea, was fupported by twelve bulls ; and on the walls of the oracle he placed 
 alternate cherubims and palm trees, fupporting wreaths of flowers, and probably 
 
 K k the 
 
7o Of PERSIANS and CARYATIDES. 
 
 the ceiling. In the fepulchre of King Ofymanduas, which, as Diodorus Siculus 
 relates was ten furlongs m circuit; there was a ftone hall, forming a fpace of fou 
 hundred feet every way, of which the roof inftead of pillars, L fupported by 
 animals each of a fingle ftone, and twenty-four feet high; being carVed m the 
 ancent Egyptian manner The roof was alfo entirely of (tone, competed of ftones 
 Uvdve feet fquare; the whole being coloured to reprefent an azure iky, befoanXd 
 with flaw. Of the number or natures of thefe animals, nothing is fa,d • but ,f the 
 whole fpace was covered, more than one thoufand would havf been reou £ e to 
 fupport the roof; and more than a thoufand ftones to form it. In feveT Indian 
 buddmgs too fuppofed to be of great antiquity; may be obferved figures of men 
 and annals fupportmg the roofs, after the manner defcribed in the fepulchre of 
 
 the" Efoph U ant ; a PartlC 7 " " ^ ^ B ° mba > ' ^fyZl£ 
 
 wh,VW° NG anti( l ui J ties at R° r me > there are various fragments of male figures 
 Which, from their attitudes, and fome ornaments about them, may be conjeftuied 
 to have fervedas fupports to the entablatures of buildings : hut 
 
 t d Zu m t e ° p . thatkil ? d ' opting the three Laces fupportingTn urn in 
 
 the Villa Borghefi. Pliny makes mention of fome by the hand of Praxiteles 
 which m his time, were in the library of Afinius Pollio at Rome: and of o her 
 female figures in the Pantheon, where, although the ftrufture wa enriched with 
 feveral works of D 10 genes the Athenian, they were held in much efteem hey 
 feem to have been cut in baffo or alto relievo, to have been placed over tSumnJ 
 
 Lppor'rL p cS: as Fontana conjeaures ' employed to adora *° ^"S 
 
 Among the antiquities of Athens, publifhed by Mr. Le Roy, there are five 
 Caryatides fupportmg an entablature, contiguous to the temple Set 
 They bear a confiderable refemblance to thofe celebrated ones of lean Gouion in 
 the Sw lfs Gu ard Room of the Louvre at Paris; of one of which, Vre i 72re 
 lotion, fig. 8, plate of Caryatides. Speaking of thefe figures, Monfieu7E 
 %:dTf the following manner. << The hiftofy of the C^atitk 
 
 orde,, fays he is fo curious, that almoft all authors have quoted it; but SoSh 
 ^ are . welll K f™\of its origin, yet we have hitherto Lnt no hS of the 
 proport.ons obferved therein by the ancients; Vitruvius is filent upon the flea 
 there is no monument of that order at Rome, and the only ancient example 
 
 « rno a t P ced eX1 The S fo ^ " ^ ^ ^ ^therto r3ed 
 
 unnoticed. The four figures ftandmg in front, refemble each other entirely 
 
 « theTK'h lift t ^ ^ ^ * ^ f ™ ft > and the iwoTo 
 
 the leit, the left leg ; m order to fymmetnfe more perfedly. They are crowned 
 
 with capitals, upon which is placed the entablature ; P remarkable, by a Lnreffion 
 
 « ll^£ ,anty which the ™' ^ P1 Xd ffi to 
 
 « hei"hTof\fTf ^ ^ °I en ^ b,ature is v «7 Wgh; it exceeds a third of the 
 height of the figures : and it would be difficult to afcribe a reafon for this excef 
 were it not considered that a full dreffed woman, which thefe reprefen form a 
 Oiape more m the proportion of a very ffiort Doric column, than of I 1 
 Ionic one; which probably induced the architeft to enlarge his elblaturef To 
 
 prevent 
 
Of PERSIANS and CARYATIDES. 71 
 
 " prevent its appearing too flight for the figures. Be this as it may, the profile of 
 " the entablature is very perfect. The dentils in the cornice fhew it to be Ionic ; 
 " and there are on the upper fafcia, an ornament confiding of little rounds, like 
 " nail heads, which has not been introduced in any of the other orders. 
 
 " But that which is moft excellent in this building, is doubtlefs the Carya- 
 " tides themfelves. There are now only five left of the fix originally there ; they 
 " are of a beautiful defign, with drapery in the ftile of that of the Flora, in the 
 " Farnefian Palace at Rome." 
 
 I perfectly agree with Mr, Le Roy, as to the beauty of the figures, but 
 whatever might have been the architect's inducement to enlarge his entablature, 
 he certainly has done it to a monftrous excefs : it feems calculated to crufh the 
 figures to atoms, and all that, in my humble idea, can either be faid of the profile 
 of the cornice, or the clumfy capitals on which the entablature ftands, is, that far 
 from deferving to be admired, they would fcarcely be tolerated any where, but in 
 a traveller's book : and it feems very extraordinary that Monfieur Le Roy, who 
 is himfelf a man of excellent tafte ; fhould applaud, what in his own judgment he 
 muft condemn, 
 
 Jean GouGeon, in his beautiful compofition at the Louvre, abovementioned, 
 has far furpaffed this Greek fpecimen of the Caryatick order. His figures, which 
 are twelve feet high, and of exquifite workmanfhip, ftand on bafes one fixth of 
 that height ; on their heads are capitals of the Doric order, of which, the fhape 
 and proportion ferve to decorate, but not to over-load the head ; the capitals fupport 
 a tribune, forming the entablature ; which confifts of architrave, frize, and cornice. 
 It is richly decorated, of the Ionic order ; and meafures one quarter of the height 
 of the figures, including the bafes on which they ftand. By introducing thefe bafes, 
 the fculptor has artfully contrived to diminifh the height, and confequently the 
 bulk of his figures ; and by a regular divifion of his entablature, he has rendered it 
 light, at the fame time that it is truly proportioned to the figures by which it is 
 fupported. 
 
 It is not cuftomary now, as formerly, fays Le Clerc, to reprefent Caryatides, 
 with attributes of fiavery and fervitude. Such characters are too injurious to the 
 Fair. On the contrary, they are at prefent, confidered as the richeft, moft valued 
 ornaments of buildings ; and reprefented under the figures of Prudence, Wifdom, 
 Juftice, Temperance, &c. 
 
 Freart DE Chambray, blames this practice; which he confiders as the 
 effect of inadvertency, in the architects who firft introduced it : obferving, that if 
 they had fufFiciently reflected on the text of Vitruvius, with regard to the origin of 
 Caryatides, they would have perceived the impropriety of employing the repre- 
 sentations of faints and angels, loaded like flaves, with cornices, and other heavy 
 burdens ; and likewife, that of employing the Caryatick order promifcuoufly, in all 
 forts of buildings ; particularly in facred Structures, which are the houfes of God, 
 and afylums of mercy ; where vengeance and fiavery ought never to appear. 
 
 LI 
 
 On 
 
72 Of PERSIANS and CARYATIDES, 
 
 On the other hand Blondel obferves, that, though this remark be juft, if the 
 origin of thefe ornaments be rigoroufly attended to ; yet to ferve in any fhape in 
 the houfe of God, and in particular at the altar ; has always appeared in the minds 
 of the prophets, and faints, fo glorious and great ; that not only men, but angels, 
 ought to efteem it a happinefs : and that confequently it can be no indication of 
 difrefpeft, to employ their reprefentations, in offices which they themfelves would 
 execute with pleafure. 
 
 The ancients, fays the fame author, made frequent ufe of Caryatick and Perfian 
 figures, and delighted in diverfifying them in a thoufand manners. The modern 
 artifts have followed their example ; and there is a great variety of compofitions of 
 this kind, to be met with in different parts of Europe : of fome of which, defigns 
 are exhibited in the annexed plate ; and others may be invented, and adapted to 
 different purpofes with great propriety ; provided the figures introduced be analo- 
 gous to the fubjeft, as Mr. Ware obferves; and feem at leaft, a neceffary part in 
 the compofition. Thus, fays Le Clerc, if they are employed to fupport the covering 
 of a throne, they may be reprefented under the figures and fymbols of heroic 
 virtues ; if to adorn a facred building, they muft have an affinity to religion ; and 
 when they are placed in banquetting rooms, ball rooms, or other apartments of 
 recreation , they mull be of kinds proper to infpire mirth, and promote feftivity. 
 
 In compofing them, particular care muft be taken to avoid indecent attitudes, 
 diftorted features, and all kinds of monftrous or horrid productions ; of which there 
 arc fuch frequent inftances, in the works of our northern predeceffors. On the 
 contrary, the attitudes muft be fimple and graceful ; the countenances, though varied, 
 always pleafing, and flrongly marked with the expreffion peculiar to the occafion, 
 or the object reprefented. There muft be no variety in the general form or outline, 
 of the different figures employed in the fame compofition, and but little flutter in 
 the draperies; which ought to fit clofe to the bodies of the figures, with folds 
 contrived to exprefs diftincily, both their action and fhape. Le Clerc obferves that 
 they fhould always have their legs clofe together, and the arms clofe to the body 
 or head ; that fo they may have, as much as poffible, the fhape of columns, whofe 
 office they are to perform : and it may be added, that for the fame reafon, their 
 attitudes fhould be as nearly perpendicular, as can conveniently be, without giving 
 a ftiff conftrained air to the figures. 
 
 The fame author obferves, that Caryatides ought always to be of a moderate 
 fize ; left, being too large, they fhould appear hideous in the eyes of the fair fex : 
 and indeed, as thefe figures are generally reprefented in endearing offices, and 
 under the forms of amiable and benevolent beings, the caution feems very proper. 
 It will therefore be judicious, never to make them much larger than the human ftature. 
 
 But male figures may, on the contrary, be of any fize ; the larger the better : 
 as they will then be fitter to ftrike with awe and aftonifhment. There are few 
 nobler thoughts, in the remains of antiquity, than Inigo Jones's Perfian Court ; the 
 effect of which, if properly executed, would have been furprifing and great in 
 the higheft degree. 
 
 Male 
 
Of PERSIANS and CARYATIDES. 
 
 Male figures may bo introduced with propriety in arfenals, or galleries of 
 armour, m guard rooms and other military places ; where they moult reprefent 
 the figures of captives, or elfe of martial virtues ; fuch as Strength, Valour, Wifdom, 
 Prudence, Fortitude and the like. Their entablature muft be Doric, and bear the 
 
 hl^T rtl r t0 !f m ' V? COklmnS ° f the fame hei § ht: and the Proper enta- 
 S fo E Caryatides will be either Ionic, or Corinthian, according as the 
 character of the figures is more or lefs delicate. 
 
 Persian or Caryatids figures, ought never to be employed to fupport the 
 fame entablature with columns : for figures of men or women, as high as columns, 
 are confiderably more bulky; and when they are of an uncommon file, convey an 
 idea of greatnefs, that entirely deftroys the effetl of the columns, by making them 
 appear very trifling. Neither fhould they be placed upon columns, as they 
 the court of the Old Louvre at Paris, for the fame reafons 
 
 are in 
 
 Palladio, fenfible of this inconvenience, yet willing to introduce a fpecimen 
 of Perfian figures, has in the Valmarano Palace at Vicenza, divided the large 
 Compoiite pilafters which decorate the front, into five parts; three of which he has 
 given to a diminutive Corinthian order, fqueezed into the inter-pilafters, and feebly 
 iuitaming the extremities of the fabrick ; while the remaining two parts are at the 
 angles, occupied by figures on pedeftals, as diminutive as the aforefaid Corinthian 
 order, and introduced with as little propriety ; more efpecially as they are made 
 to iupport the ends of an enormous, bulky Compofite entablature, of which the 
 height iurpaffes two thirds of that of the figures thcmfelves. 
 
 It is fometimes cuftomary to employ terms, inftcad of Caryatides or Perfians, 
 to iupport the entablatures of gates, monuments, chimney-pieces, and fuch like 
 compositions. Thefe figures owe their origin to the ftones, ufed by the ancients to 
 mark the limits of each particular perfon's pofleffions. Numa Pompilius, to render 
 thefe inviolable, and prevent encroachments, ereftcd the Terminus into a deity 
 inihtuted feftivals and lacnfices to his honour, and built a temple on the Tarpeian 
 Mount which he dedicated to him, and in which he was reprefented under the 
 figure of a ftone. 
 
 In procefs of time, however, the God Terminus was reprefented with a human 
 head, placed on a poll or ftone, ihaped like an inverted obelifk ; which being on 
 particular folemmties, adorned with garlands ; compofed altogether, a very pleafmg 
 form : to the imitation of which, may with great probability be attributed, the 
 mtrodudion of thefe ornaments into building: where they have been varied into 
 a great diverfity of fhapes. I have occalionally, in the courfe of this work, given 
 fome defigns of them; and many others may be invented, and adapted to the 
 particular purpofes, for which they fhall be intended. 
 
 In confideration of their origin, the Termini are proper ornaments in gardens, 
 and m fields ; where the upper part of them may reprefent Jupiter, who in the 
 remoter ages of antiquity, was proteaor of boundaries : or fome of the rural deities ; 
 as Pan, Flora, Pomona, Vertumnus, Ceres, Priapus,. Faunus, Sylvanus, Nymphs 
 and Satyrs. Mr. Ware recommends the ufe of them as boundaries to counties, 
 
 M m where 
 
74 
 
 Of PEDESTALS. 
 
 where they may be enriched with ornaments allufive to the produce, manufacture, 
 and commerce of each refpective county. 
 
 TMfe three firft figures, in the annexed plate of Perfians and Caryatides, are 
 copied from Candelabre's, in St. Peter's of the Vatican. They are caft from models 
 of Michael Angelo Buonaroti, and repaired either by himfelf, or doubtlefs under 
 his direaion: for the workmanfhip is very perfeft. Figure 2, may be employed in 
 buildings ; but the others are properer for the angles of coved ceilings, or other fuch 
 ornamental works, being not unlike fomc introduced by the Caracchi, in the Far- 
 nefian ceilings at Rome. No. 4, is a copy of One of the figures that furround the 
 choir, in the cathedral of Milan ; which are the work of Andrea Biffi, a celebrated 
 Milanefe fculptor. No. 5, is executed in the Judgment-Hall, of the Stadt-Houfe 
 of Amfterdam, by Artus Quellinus. No. 6, is an admired work of Michael Angelo, 
 now in the Villa Ludovifi at Rome. No. 7, is in part by the fame hand, and 
 executed from the waift upwards, in the monument of Pope Julius the fecond, in 
 the church of St. Pietro, in the Vincoli at Rome. No. 8, is one of thofe executed 
 by Jean Gougeon, in the Swifs Guard-Room of the Old Louvre, at Paris ; as has 
 before been mentioned. No. 9 and 10, arc taken from paintings of Daniel da 
 Volterra, in the church of the Trinta del Monte at Rome. No. 11, is a figure in 
 baffo relievo, on the Goldfmiths arch at Rome ; and No. 1 2, is copied from an 
 original defign of Polidore da Caravaggio, now in my pofieffion. 
 
 Of PEDESTALS. 
 
 MOST writers confider the pedeftal as a neceffary part of the order, without 
 which, it is not efteemed complete. It is indeed a matter of fmall impor- 
 tance, whether it be confidered in that light, or as a diftinct compofition : 
 neverthelefs, feeing that in the particular defcription, given by Vitruvius, of the 
 Doric, Corinthian, and Tufcan orders, no notice is taken of any pedeftal; and 
 that, in the Ionic order, he only mentions it as a neceffary part in the conftrudion 
 of a temple, without fignifying that it belongs to the order, or affigning any 
 particular proportions for it, as he doth for the parts of the column and the enta- 
 blature— I have judged it more regular to treat of the pedeftal as a feparate body; 
 having no more connection with the order, than as an attic, a bafement, or any 
 other part with which it may, on fome occafions, be accompanied. 
 
 A pedestal like a column or an entablature, is compofed of three principal 
 parts ; which are the bafe, the dye, and the cornice. The dye is always nearly of 
 the fame figure; being conftantly either a cube, or a parallelopiped ; but the bafe 
 and cornice are varied, and adorned with more or fewer mouldings, according to 
 the fimplicity or richnefs of the compofition in which the pedeftal is employed. 
 Hence pedeftals are, like columns, diftinguifhed by the names of Tufcan, Doric, 
 Ionic, Compofite, and Corinthian. 
 
 Some authors are very averfe to pedeftals, and compare a column raifed 
 on a pedeftal, to a man mounted on ftilts ; imagining that they were firft 
 
 introduced 
 
Of PEDESTALS. 
 
 75 
 
 introduced merely through neceffity, and for want of columns of a Sufficient 
 length. 
 
 It is indeed true, that the ancients often made ufe of artifices to lengthen 
 their columns ; as appears by fome that are in the Baptiftery of Conftantine at 
 Rome ; the fhafts of which, being too fhort for the building, were lengthened and 
 joined to their bafes, by an undulated fweep, adorned with acanthus leaves. And 
 the fame expedient has been made ufe of in Some fragments, which were difcovered 
 a few years ago at Nimcs, contiguous to the temple of Diana. Neverthelefs it doth 
 not feem proper to comprehend pcdeftals, in the number of thefc artifices ; fmce 
 there are many occafions on which they are evidently neceffary ; and fomc, in which 
 the order, were it not fo raifed, would lofe much of its beautiful appearance. Thus, 
 within our churches, if the columns Supporting the vault were placed immediately 
 on the ground, the feats would hide their bafes, and a good part of their fhafts ; 
 and, in the theatres of the ancients, if the columns of the fcene had been placed 
 immediately on the ftage, the actors would have hid a confiderable part of them 
 from the audience. For which reafon, it was ufual to raife them on very high 
 pedeftals ; as was likewife cuftomary in their triumphal arches. And in moft of 
 their temples, the columns were placed on a balement, or continued pcdeftal : that 
 fo, the whole order might be expoled to view, notwithstanding the crouds of people 
 with which thefe places were frequently furrounded. And the fame reafon will 
 authorifc the fame practice in our churches, theatres, courts of jultice, or other 
 publick buildings, where crouds frequently allemble. 
 
 In interior decorations, (where generally fpcaking, grandeur of ftile is not to 
 be aimed at,) a pedeltal diminishes the parts of the order, which otherwife might 
 appear too clumfy ; and has the farther advantage of placing the columns in a more 
 favourable view, by railing their bafe nearer to the level of the Spectator's eye. And 
 in a Second order of arcades, there is no avoiding pcdeftals ; as without them, it is 
 impossible to give the arches any tolerable proportion. 
 
 Sometimes too, the Situation makes it neceffary to employ pcdeftals : an 
 inftancc of which there is in the Luxembourg Palace at Paris : where the body of 
 the building Standing on higher ground than the wings, the architect; was obliged 
 to raile the firft order of the wings on a pedeltal, to bring it upon a level with that 
 of the body, or corps de logis of the building, which Stands immediately upon the 
 pavement. 
 
 These instances, will Sufficiently Shew the neceffity of admitting pedeftals in 
 decorations of architeclure. With regard to the proportion, which their height 
 ought to bear, to that of the columns they arc to Support, it is by no means fixed : 
 the ancients, and moderns too, having in their works varied greatly in this reSpe<5t ; 
 and adapted their proportions to the occafion, or to the refpective purpofes for 
 which the pedeftals were intended. Thus, in the amphitheatres of the ancients, 
 the pedeftals in the Superior orders were generally low ; becaufe in the apertures 
 of the arches, they ferved as rails to inclofe the portico, and therefore were, for 
 the conveniency of leaning over, made no higher than was neceffary to prevent 
 accidents : and the cafe is the fame in moft of our modern houfes ; where the 
 height of the pedeftals in the Superior orders, is generally determined by the cills of 
 
 N n the 
 
?6 Of PEDESTALS. 
 
 the windows. The ancients, in their theatres, made the pedeftals in the firft order 
 of their fcene, high ; for the reafon mentioned in the beginning of this chapter • 
 but the pedeftals in the fuperior orders were very low ; their chief ufe being to 
 raife the columns fo, as to prevent any part of them from being hid, by the projection 
 of the cornice below them. And thus, on different occafions, they ufed different 
 proportions ; being chiefly guided by neccffity in their choice. The moderns have 
 followed their example ; as will appear to any one who examines the works of 
 Palladio, of Vignola, of Michael Angelo, Scamozzi, and many other famous 
 architects. 
 
 Nevertheless, writers on architeaure have always thought it incumbent 
 upon them, to fix a certain determinate proportion for the pedeftal, as well as for 
 the parts of the order. It would be ufelefs to enumerate in this place, their diffe- 
 rent opinions : but I muft beg leave to obferve, that Vignola's method is the only 
 true one. His pedeftals, are in all the orders of the fame height ; being one third 
 of the column : and as their bulk incrcafes or diminifhes of courfe, in the fame 
 degree as the diameters of their refpeaive columns do, the charaaer of the order 
 is always preferved ; which according to any other method is impoflible. 
 
 In the defigns which I have given of arches with pedeftals, the pedeftals are 
 all ot the fame height ; each of them being three tenths of the height of their 
 refpeaive columns. But it is not neceffary to adhere always to this proportion • 
 they may be higher or lower, as the occafion fhall require. It is, however to be 
 oblerved, that, when pedeftals are profiled under each column, and the'dye is 
 much lets than a fquare in height, the pedeftal has a clumfy appearance; and when 
 a pedeftal of the tame kind exceeds one third of the height of the column it has a 
 lean, unfohd, tottering afpea. But if they are continued without any breaks this 
 need not be attended to ; though indeed, there are very few occafions in which 
 pedeftals higher than one third of the column, ought to be fuffered; as they leffen 
 too much the parts of the order, and become themfclves too principal in the 
 compofition. 
 
 With regard to the divifions of the pedeftal, if the whole height be divided 
 into nine parts, one of them may be given to the height of the cornice, two to the 
 bafe, and the remaining fix to the dye ; or if the pedeftal is lower than ordinary 
 its height may be divided into eight parts only, of which one may be given to the 
 cornice, two to the bafe, and five to the dye; as Palladio has done in his Corin- 
 thian order ; and Pcrrault in all the orders. 
 
 The plan of the dye is always made equal to that of the plinth of the column • 
 the prqjeaion of the cornice may be equal to its height; and the bafe, being divided 
 into three parts, two of them will be for the height of the plinth, and one for the 
 mouldings, of which the prqjeaion muft be fomewhat lefs than the projeaion of the 
 cornice; that fo, the whole bafe may be covered and fheltered by it- a precaution 
 which Scamozzi has obferved in all his defigns, though Palladio has neelefted it in 
 the greater! part of his; the palace of the Porti, and one or two other buildings in 
 the Vicentine excepted. 
 
 These 
 
Of PEDESTALS. 
 
 77 
 
 These meafures are common to all pedeftals ; and in the annexed plate there 
 are defigns of proper ones for each order ; in which the forms and dimenfions of 
 the minuter parts, are accurately drawn and figured. 
 
 It is fometimes cuftomary to adorn dyes of pedeftals with projecting tablets, 
 or with pannels funk in, and furrounded with mouldings. The former of thefe 
 practices ought feldom to be admitted, as thefe tablets alter the general figure of 
 the pedeftal, and when they project much, give it a heavy appearance. And the 
 latter fhould be referved for very large pedeftals only, of fuch kinds as thofe fup- 
 porting the Trajan and Antonine columns at Rome, and the Monument in London ; 
 where they may be filled with inferiptions, or adorned with bas-reliefs, analogous 
 to the occafion on which the column was ere&ed. Even in the largeft buildings, 
 pedeftals are commonly too fmall to admit of fuch ornaments, which only fcrve to 
 give them an unfolid, trifling appearance, and contribute to complicate, without 
 improving, the compofition. 
 
 With regard to the application of pedeftals, it muft be obferved, that when 
 columns are entirely detached and at a confiderable diftance from the wall, as when 
 they are employed to form porches, periftyles, or porticos, they fhould never be 
 placed on detached pedeftals, as they are in fome of Scamozzi's defigns, in the 
 temple of Scifi, mentioned by Palladio ; and at Lord Archer's Houfe, now Lowe's 
 Hotel, in Covent Garden : for then they may indeed be compared to men mounted 
 on ftilts, as they have a very weak and tottering appearance. In compofitions of 
 this kind, it is generally beft to place the columns immediately upon the pavement ; 
 which may either be raifed on a continued folid bafement, or be afcended to by a 
 flight of fronting fteps, as at St. Paul's, and at St. George's, Bloomfbury : but if 
 it be abfolutely neceffary to have a fence in the intercolumniations ; (as in the cafe 
 of bridges, and other buildings on the water ; or in a fecond order ;) the columns 
 may then, in very large buildings, be raifed on a continued plinth, as in the upper order 
 of the weftern porch of St. Paul's, which, in fuch cafe will be fufficiently high : and 
 in fmaller buildings, wherever it may not be convenient nor proper to place the 
 balluftrade between the fhafts ; the columns may be raifed on a continued pedeftal ; 
 as they are in Palladio's defign for Signior Cornaro's Houfe at Piombino, and at the 
 Villa Arfieri, near Vicenza ; another beautiful building of the fame mafter. 
 
 The bafe and cornice of thefe pedeftals, muft run in a ftraight line on the 
 outfide throughout: but the dyes are made no broader than the plinths of the 
 columns ; the intervals between them being filled with balluftres : which is both 
 really and apparently lighter, than if the whole pedeftal were a continued folid. 
 
 It will be fuperfluous to caution our Englifh architects againft employing 
 triangular, circular, or polygonal pedeftals in their buildings ; or fuch as are fwelled, 
 and have their dye in the form of a balluftre, or are furrounded with cinftures : fuch 
 extravagances, though frequent in fome foreign countries, are feldom to be met 
 with in England, and are now laid afide, wherever good tafte prevails. 
 
 In 
 
7 8 Of INTERCOLUMNIATIONS. 
 
 In my defigns of pedeftals*^ I have reprefented them under the proportions 
 obferved by me in arches with pedeftals ; but when it is neceffary to vary the 
 general height, the meafures of the particular members may eafily be determined, 
 by dividing the whole height in the Tufcan order into 4j parts, in the Doric into 4* 
 in the Ionic into g, and in the Compofite or Corinthian into fix parts, making 
 ufe of one of thefe parts as the module, and determining the heights and projections 
 of the different members, according to the figures marked in the defigns. 
 
 Of the APPLICATION of the ORDERS of 
 ARCHITECTURE. 
 
 AMONG the ancients, the ufe of the orders was very frequent : many parts of 
 their cities were provided with fpacious porticos; their temples were 
 furrounded with colonades ; and their theatres, baths, bafilicas, triumphal 
 arches, maufoleums, bridges, and other public buildings, were profufely enriched 
 with columns; as were likewife the courts, veftibules, and halls of their private 
 villas and houfes. 
 
 In imitation of the ancients, the moderns, have made the orders of archi- 
 tefture the principal ornaments of their ftrudures. We find them employed in 
 almoft every building of confequence ; where they are fometimes merely ornamental, 
 but at others, they are of real ufe as well as ornament ; ferving to fupport the 
 covering, or any other burdens placed upon them. On fome occafions, they are 
 employed alone : the whole compofition confining only of one or more ranges of 
 columns with their entablature. At other times the intervals between the columns 
 are filled up, and adorned with arches, doors, windows, niches, flames, bas-reliefs, 
 and other fimilar inventions : the columns are either placed immediately on the 
 pavement, or raifed on plinths, pedeftals, or bafements; either engaged in the 
 walls of the building, or ftanding detached, near, or at fome diftance from them ; 
 and frequently, different orders are placed one above the other, or intermixed with 
 each other on the fame level. In all thefe, and in all other cafes, in which the 
 orders are introduced ; particular meafures, rules, and precautions are to be obferved, 
 of which, I fhall endeavour to give a full detail, in the following chapters. 
 
 Of INTERCOLUMNIATIONS. 
 
 COLUMNS are either engaged, or infulated : and when infulated, they are 
 either placed very near the walls, or at fome confiderable diftance from 
 them. 
 
 * Sec PI. of Pilaftcrs. 
 
 With 
 
Of INTERCOLUMNIATIONS. 
 
 With regard to engaged columns, or fuch as are near the walls of a building, 
 the intercolumniations are not limited; but depend on the width of the arches, 
 windows, niches, or other objects and their decorations, placed within them. 
 But columns that are entirely detached, and perform alone the office of fupporting 
 the entablature ; as in periftyles, porches, and galleries, muft be near each other ; 
 both for the fake of real and apparent folidity. 
 
 The ancients had feveral manners of fpacing their columns, which are defcribed 
 by Vitruvius in his third and fourth books. Thofe pra£tifed in the Ionic and 
 Corinthian orders, were the * Pycnoftyle, of which the interval was equal to one 
 diameter and a half of the column ; the Syftyle interval, of two diameters ; the 
 Euftvle, of two diameters and one quarter ; the Diaftyle, of three diameters ; and 
 the Arasoftyle, of four. In the Doric order they ufed other intercolumniations, 
 regulating them by the triglyphs, of which one was always to be placed directly 
 over the middle of each column: fo that they were either fyftyle monotriglyph, of 
 one diameter and a half ; diaftyle, of two diameters and three quarters ; or arseoftyie, 
 of four diameters ; and the Tufcan intervals were exceedingly wide, fome of them 
 being above feven diameters : which, as the architraves were of wood, was 
 practicable. 
 
 AMONG thefe different intercolumniations, the pycnoftyle and fyftyle are too 
 narrow : and though Mr. Perrault imagines, from their frequency in the remains 
 of antiquity, that the ancients delighted more in them, than in any of the others, 
 yet, I believe, their ufe muft be afcribed rather to neceffity than to choice. For as 
 the architraves were compofed of fmgle ftones or blocks of marble, extending from 
 the axis of one column to that of another, it would have been difficult to find blocks 
 of a fufficient length for diaftyle intervals, in large buildings. 
 
 With regard to the arasoftyle and Tufcan intercolumniations, they are by 
 much too wide either for beauty or ftrength, and can only be ufed in ruftic 
 ftruftures, where the architraves are of wood, and where convenience or economy 
 takes place of all other confiderations. Nor is the diaftyle fufficiently folid in large 
 compofitions. The euftyle therefore, being a medium between the narrow and 
 wide intervals, and at the fame time being both fpacious and folid, has been 
 preferred by the ancients as well as moderns, to any of the reft. 
 
 Vitruvius, in the fecond chapter of his third book, fays, that the thicknefs 
 of the column fhould be augmented, when the intercolumniation is enlarged ; fo 
 that if, in a pycnoftyle, the diameter is one tenth of the height, it fhould in an 
 araoftyle, be one eighth: for if, fays he, in an araoftyle, the thicknefs of the 
 columns do not exceed a ninth or tenth part of their height, they will appear too 
 flender and delicate; whereas if, in a pycnoftyle, the diameter of the column be 
 equal to one eighth of its height, it will appear gouty, and difagreeable to 
 the eye. 
 
 * Sec PI. of Intercolumniations. 
 
 P P 
 
 The 
 
8o 
 
 Of INTERCOLUMNIATIONS. 
 
 The intention of Vitruvius was good ; but the means by which he attempts 
 to compafs it, are infufficient. His defign was to ftrengthen the fupports, in pro- 
 portion as the intervals between them were enlarged ; yet, according to the method 
 propofcd by him, this cannot be effected : fmce one necelfary confequence of 
 augmenting the diameter of the column, is enlarging the intercolumniation propor- 
 tionably. Palladio and Scamozzi, have however, admitted this precept as literally 
 juft ; and by their manner of applying it, have been guilty of a very conliderable 
 abfurdity. 
 
 It is evident that Vitruvius, intended the five intercolumniations mentioned 
 in his third book, merely for the Ionic and Corinthian orders ; the latter of which, 
 according to him, differed from the former, only in its capital. For, in the fecond 
 and feventh chapters of his fourth book, he eftablifhes other intervals for the Doric 
 and Tufcan orders. Neverthelefs, they have employed thefe intercolumniations 
 in different orders. Palladio, has ufed the fyftyle in the Corinthian, and the 
 arasoftyle in the Tufcan ; by which means the Corinthian periftyle, of which the 
 character fliould be extreme delicacy and lightnefs, becomes twice as ftrong and 
 material as the Tufcan ; of which the diftinguifhing charafteriftic ought to be 
 extreme folidity : and Scamozzi has fallen into the fame error, though not to fo 
 great an excefs ; his Tufcan intercolumniation being only diaftyle. 
 
 It may perhaps be alledged, in favour of this precept of Vitruvius, that, by 
 following his doctrine, the folidity of the column is increafed or diminifhed in a 
 greater degree, than the breadth of the interval ; the difference of the latter, between 
 columns of eight or ten diameters in height, being only as eighty to one hundred ; . 
 whereas that of the former is as fixty-four to one hundred. But the apparent 
 magnitudes of cylindrical bodies viewed in a vertical pofition, are to each other, 
 nearly in the fame ratio as their diameters, not as their folid contents : and as the 
 bulk of the architrave and other parts of the entablature, vary exaftly in the fame 
 proportion as that of the column does, the real ftrength of the ftrufture is not in 
 the leaft affecfed by it. 
 
 VlGNOLA has obferved nearly one and the fame proportion in all his inter- 
 columniations : which practice, though condemned by feveral eminent writers, is 
 certainly preferable to any other; as it anfwers perfe&ly the intention of Vitruvius, 
 preferves the charafter of each order, and maintains in all of them an equal degree 
 of real folidity. 
 
 Setting therefore afide the pyenoftyle and fyftyle difpofitions, on account of 
 their want of fpace ; and the arasoftyle, for its deficiency in point of ftrength ; it 
 may be eftabliflicd, that the diaftyle intercolumniation, and the euftyle, (of which 
 the latter ought, on molt occafions, to have the preference,) may be employed 
 without diffraction, in all the orders, excepting the Doric; in which the molt 
 perfect interval is the ditriglyph ; neither the monotriglyph, nor the arasoftyle, 
 being to be admitted, but in cafes of neceflity. 
 
 It 
 
Of INTERCOLUMNIATIONS. 
 
 81 
 
 It is however to be obferved, that if the meafures of Vitruvius be fcrupuloufiy 
 adhered to, with regard to the euftyle interval, the modillions in the Corinthian 
 and Compofite cornices, and the dentils in the Ionic, will not come regularly over 
 the middle of each column. The ancients, generally fpeaking, were indifferent 
 about thefe little accuracies: but the moderns, taking example by fome of the 
 chafteft remains of antiquity, have with reafon, ftriftly attended to them. A trifling 
 alteration will remedy this defeft, and being attended with no inconveniency, it 
 may without hefitation be allowed. I fhall therefore, in imitation of Vignola, 
 inftead of two diameters and a quarter, give two diameters and one third to the 
 euftyle intercolumniation ; not only in the Ionic, Corinthian, and Compofite orders, 
 but likewife in the Tufcan : for I would endeavour to Amplify the art, and avoid an 
 unneceffary increafe of rules, in a fcience already too much encumbered with 
 them. 
 
 Sometimes, on account of the windows, doors, niches, or other decorations, 
 which correfpond with the intercolumniations in the periftyle or gallery ; it is not 
 poffible to make the intervals fo narrow as euftyle, or even as diaftyle : wherefore 
 the moderns, authorifed by fome few examples of antiquity, where grouped columns 
 are employed ; have invented a manner of difpofing them, by Perrault called Arseo- 
 fyftyle ; which admits of a larger interval, without any detriment to the apparent 
 folidity of the building. This kind of difpofition is compofed of two fyftyle 
 intercolumniations; the column that feparates them, being approached towards 
 one of thofe at the extremities ; fufficient room being only left between them, for 
 the projection of the capitals : fo that, the great fpace is three diameters and a half 
 wide ; and the fmall one, only half a diameter. 
 
 This manner has been applied with fuccefs on the porch of St. Paul's in London, 
 and on the principal front of the Old Louvre in Paris : the decorations of the niches 
 in the laft of thefe buildings, having required fuch wide intercolumniations, that 
 they could never have been tolerated without coupled columns. 
 
 Mr. Blondel in his Cours d'ArchiteHure, employs feveral chapters of his firft 
 book, part 3, to prove the abfurdity of the arasofyftyle difpofition. His principal 
 objeaions are its want of real folidity; its great expence, (fince near double the 
 quantity of columns are required, that would be fufficient in the diaftyle;) and 
 the irregularities which it occafions in the Doric, Corinthian, and Compofite 
 entablatures. 
 
 These objections are too conftderable not to deferve attention; and it will 
 always be beft to avoid the grouping of columns. Neverthelefs, if on any occa- 
 fion, either to humour the fancy of fome capricious patron, or to conquer fome other 
 infurmountable difficulty, it ffiould be found neceflary to introduce them, they 
 may doubtlefs be employed ; care however, being taken, to ufe fuch precautions as 
 will render the irregularities, occafioned by this difpofition, leaft ftriking and 
 difagreeable. 
 
 Qq 
 
 In 
 
82 
 
 Of INTERCOLUMNIATIONS. 
 
 In the Tufcan, or Ionic orders, no precautions will be found neceffary ; the 
 entablature in the former of thefe being entirely plain, and in the latter only 
 enriched with dentils, which admit of a regular diftribution, in all intervals divifible 
 by thirds of modules. But in the Corinthian and Compofite, it mult be obferved, 
 that if the modillions are regularly difpofed, and fpaced according to their juft 
 meafures, they will neither anfwer in the large or little intercolumniation, fo as to 
 have one of them over the middle of each column. 
 
 To remedy this defeft, Perrault, the architect of the periftyle of the Louvre, 
 has enlarged both the modillions and the fpaces between them ; the diftance from 
 one center to another, in the broad intervals, being one module, thirteen minutes ; 
 and in the narrow ones, one module, fifteen minutes. This method, though 
 tolerable in that building, where the dentil-band is not cut, and the angles are 
 terminated by undiminished pilafters, will not anfwer in moll other cafes : for, 
 either the whole cornice mull be enlarged, and all its proportions changed, or the 
 modillions will not fall regularly over the dentils ; the coffers in the foffit will be 
 oblong inftead of fquare ; and the fpace between the laft modillion and that over 
 the angular column, will be lefs by far than any of the others : all which are 
 irregularities too great to be tolerated. 
 
 The fimpleft and beft manner of proceeding, is to obferve a regular diftribution 
 in the entablature, without any alteration in its meafures ; beginning at the two 
 extremities of the building : by which method the modillions will anfwer to the 
 middle of every other column, and be fo near the middle of the intermediate ones, 
 that the difference will not eafily be perceivable. The only inconvenience arifing 
 from this practice is, that the three central intercolumniations of the compofition 
 will be broader, by one third of a module, than is neceffary for eleven modillions : 
 but this is a very trifling difference, eafily divided, and rendered imperceptible, if 
 the extent be any thing confiderablc. 
 
 In the Doric order, grouped columns are not fo eafily managed ; and though 
 they have been employed in many confiderable buildings, and by eminent archi- 
 tects, yet, in very few of them, have they been properly treated. At the church 
 of St. Gervais, and feveral other buildings in Paris, the metope between the 
 coupled columns is much broader than any of the others ; at the Minims near the 
 Place Royale, that the metope might be fquare, the bafes of the columns are made 
 to penetrate each other ; at the caftle of Vincennes, the height of the frize is 
 considerably augmented for the fame reafon : and Scamozzi, wherever he joins 
 together two Doric columns, or pilaflers, omits the bafe of one of them, fubftituting 
 a plinth in its place ; that fo the interval may not be too broad to admit of a regular 
 metope. 
 
 None of thefe methods are good, nor equal to that which Palladio has prac- 
 tifed at the palace of Count Chiericato, and in the Bafilica at Vicenza. In the 
 latter of thefe, the interval between the coupled columns is twenty-one minutes 
 only : fo that the diftance, from the axis of one column to that of the other, is 
 
 two 
 
Of INTERCOLUMNIATIONS. 83 
 
 two modules, twenty-one minutes; or fix minutes more than is fufficient, for a 
 regular metope and two half triglyphs. In order to hide this excefs, each of the 
 triglyphs is thirty-one minutes broad, their centers are each of them removed one 
 minute within the axis of the column, and the metope, is three minutes broader 
 than the others. A difference fo trifling, that it cannot be perceived without 
 great difficulty : more efpecially as the next metopes to the wide one, become, by 
 the removal of the triglyphs abovementioned, each one minute wider than the reft 
 in the compofition. 
 
 When, therefore, grouping of columns cannot be avoided in the Doric order; 
 the Attic bale of Palladio muft be employed, on account of its fmall projection ; the 
 great interval muft be arajoftyle, and the fmall one, twenty-one minutes, which 
 feaves a fpace of one minute between the plinths of the coupled columns. 
 
 In periftyles, galleries, or porticos, all the intercolumniations muft be equal : 
 but in a logia, or a porch, the middle interval may be broader than the others, by 
 a triglyph ; a couple of modillions ; or three or four dentils : unlefs, the columns 
 at the angles, be either coupled ; or grouped with pilaftcrs ; in which cafes, all the 
 other intervals, fhould be of the fame dimenfion. For when they are of different 
 widths, as at the Sorbonne ; and the College Mazarin in Paris ; it creates confu- 
 fion, and the unity of the compofition fuffcrs thereby. 
 
 Blondel obferves, that, when periftyles or colonades are compofed of more 
 than one row of columns, as are thofe of the piazza of St. Peter's at Rome ; 
 they fhould neither be of circular nor polygonal figures, but continued, as much 
 as poffible, in ftraight lines: becaufe in either of the former cafes, the regular 
 difpofition of the columns, is only perceivable from the center of the figure ; the 
 whole appearing, from all other points, a difagreeable heap of confufion. This 
 remark is very juft ; I have frequently obferved and regretted, the bad efted of a 
 circular difpofition in the abovementioned magnificent ftruaure; where the four 
 ranges of columns of which the colonades are compofed, offer nothing but confufion 
 to the fpe&ator's eye from every point of view. 
 
 The fame inconveniency, though in a fmaller degree, fubfifts with regard to 
 encaged pilafters, or half columns ; placed behind the detached columns, of fingle, 
 circular oval, or polygonal periftyles ; as may be feen in thofe of Burhngton-Houfe. 
 Wherefore, in buildings of that kind, it will perhaps be beft, to decorate the back- 
 wall of the periftyle with windows or niches only. 
 
 When buildings are to be executed on a fmall fcale, as is frequently the cafe 
 of temples and of °other inventions, ufed for the ornament of gardens ; it will be 
 found nece'ffary to make the intercolumniations, or at leaft the central one, broader, 
 in proportion to the diameter of the columns, than ufual ; for when the columns 
 are placed nearer each other than three feet, there is not room for a fat perfon to 
 pafs between them. 
 
 Rr Of 
 
( 84 ) 
 
 Of ARCADES and ARCHES. 
 
 ARCHES, though not lb magnificent as colonades; are ftronger, more folid, 
 and lefs expenfive. They are proper for triumphal entrances, gates of cities, 
 of palaces, of gardens, and of parks ; for arcades or porticos round public 
 fquares, markets, or large courts : and in general, for all apertures that require an 
 extraordinary width. In Bologna, and fome other cities of Italy, the ftreets are on 
 each fide, bordered with arrades, like thofe of Covcnt-Garden and the Royal Ex- 
 change ; which add greatly to their magnificence. In hot or rainy climates, thefe 
 arcades are exceedingly convenient to paffengers, affording them both fhade and 
 fhelter ; but on the other hand, they are a great nuifance to the inhabitants, as they 
 darken their apartments, hinder a free circulation of air, and ferve to harbour idle 
 and noify vagabonds, who croud their entrances, and difturb their quiet. At Rome, 
 the courts of the Vatican, thofe of Monte Cavallo, of the Borghcfc, and of many 
 other palaces, are likewife furrounded with arcades, where the equipages and 
 domefticks attend under cover : fome of them being lufficiently fpacious, to admit 
 two or three coaches abreaft. Such conveniences would be very ufeful in this 
 metropolis ; particularly, contiguous to the Court, to the Houfes of Parliament, to 
 churches, to all places of publick amufement, and even to moft town habitations of 
 the nobility and principal gentry, where numerous fine equipages and valuable 
 horfes ftand half the night, expofed to all weathers. But the fcarcity and prodi- 
 gious value of ground in the fafhionable or commercial parts of the town, render 
 them, in general, inattainablc. 
 
 There are various manners of decorating arches : fometimes their piers are 
 rufticated ; at others they arc adorned with pilafters, columns, terms, or Carya- 
 tides ; and on fome occafions, they are made fufficiently broad to admit niches, or 
 windows. The circular part of the aperture is either furrounded with ruftic arch 
 ftones, or with an archivolt, enriched with mouldings ; which in the center, is 
 generally interrupted by a key (tone in form of a confole, a mafk, or fome other 
 proper ornament of fculpture ; ferving, at the fame time, as a key to the arch, and 
 as a feemingly nccefiary fupport to the architrave of the order. Sometimes the 
 archivolt, fprings from an impoft placed at the top of the pier, and at others from 
 columns with their regular entablature or architrave cornice, placed on each fide 
 of the arch ; and there arc fome inftances of arcades without any piers ; the arches 
 being turned from fingle or coupled columns ; fometimes with, fometimes without 
 entablatures : as in the temple of Faunus at Rome, and at the Royal Exchange in 
 London ; which, however is a praft ice, fcldom to be imitated ; being neither folid 
 nor handfome. 
 
 When arches are large, the key ftone fhould never be omitted, but cut into 
 the form of a confole, and carried dole up under the foffit of the architrave ; which, 
 by reafon of its extraordinary length of bearing, requires a fupport in the middle. 
 And if the columns that adorn the piers, are detached, as in the triumphal arches 
 
 at 
 
Of ARCADES and ARCHES. 
 
 85 
 
 at Rome, it is neceffary to break the entablature over them ; making its projection 
 in the interval no more, than if there were no columns at all : for, though the 
 architrave might be made fufficiently folid, yet it would be difagreeable to lee fo 
 great a length of entablature hanging in the air, without any prop or apparent 
 fupport. 
 
 It is, however, to be remembered, that thefe breaks in entablatures fhould be 
 very fparingly employed, never indeed, but to avoid fome confiderable inconve- 
 uience or deformity : for they are unnatural, render the columns or other fupports, 
 apparently ufelefs, deftroy in a great meafure, the fimplicity of the compolition, 
 and can feldom be contrived without fome mutilations, or ftriking irregularities, 
 in the capitals and cornices of the orders, as may be obferved in feveral parts 
 of the infide of St. Paul's in this city, and in many other places. 
 
 The imports of arches fhould never be omitted; at leaft, if they are, a 
 plat-band ought to fupply their place. And when columns are employed without 
 pedeftals in arcades, they fhould always be raifed on plinths ; which will fcrvc to 
 keep them dry and clean, prevent their bafes from being broken, and improve the 
 proportions of the arches; particularly in the Doric order, where the mtcr- 
 columniations being governed by the triglyphs, are rather too wide for a well 
 proportioned arch. In all arches it is to be obferved, that the circular part muft 
 not fpring immediately from the impoil, but take its rife at fuch a diftance above 
 it, as may be neceffary to have the whole curve feen at the proper point of view. 
 When archivolts are employed without a key, or confole, in their middle, the 
 fame diftance muft be preferved between the top of the archivolt, and the architrave 
 of the order, as when there is a key ; or, at leaft, half that diftance : for when 
 they arc dole to each other, their junction forms an acute and difagreeable 
 
 angle. 
 
 The void or aperture of arches, fhould never be much more in height, nor 
 much lefs, than double their width : the breadth of the pier fhould feldom exceed 
 two thirds, nor be lefs than one third, of the width of the arch ; according to the 
 charader of the compofition : and the angular piers, fhould be broader than the 
 reft, by one half, one third, or one fourth. The archivolt and impoft muft be 
 proportioned to the arch ; due care being however taken, to keep them fubfervient 
 to the cornice, the architrave, and other principal parts of the order. For this 
 reafbn the height of the impoft, fhould not be more than one feventh, nor need it 
 ever be lefs than one ninth of the width of the aperture ; and the archivolt muft 
 not be more than one eighth, nor lefs than one tenth, thereof. The breadth of 
 the confole or mafk, which fcrves as a key to the arch, fhould at the bottom, 
 be equal to that of the archivolt ; and its fides muft be drawn from the center of the 
 arch. The length thereof, ought not to be lefs than one and a half of its bottom 
 breadth, nor more than double. 
 
 The thicknefs of the piers, depends on the width of the portico, and the 
 weight which the arcade has to carry above; for they muft be ftrong enough to bear 
 the burthen, and to refift the preffure of the portico's vault. But, with regard 
 to the beauty of the building, it fhould not be lefs than one quarter of the width of 
 the arch, nor more than one third. And when arches are doled up, to receive 
 doors, windows, or niches, the receffes fhould be deep enough, at leaft, to contain 
 
 S s the 
 
86 
 
 Of ARCADES and ARCHES. 
 
 the moft prominent parts of what is placed in them ; otherwife the architecture will 
 appear flat, and the cornices of the niches, or windows, projecting before the fronts 
 of the arches, will become too principal and ftriking in the compofition ; as may be 
 feen in the fecond order of the Famefe at Rome. 
 
 These dimenfions are general: but for a more accurate detail, the annexed - 
 defigns * may be confulted, where the proper meafures of every part are o preffed 
 in figures. 
 
 Vignola, in all his orders, excepting the Corinthian, makes the height of the 
 arch double its width. His piers when the columns have no pedeftals, are always 
 three modules, and four modules when they have pedeftals ; his imports are all of 
 them one module in height, and the archivolts are either one module, or half a 
 module, as they belong to arches with, or without pedeftals. 
 
 Palladio has given defigns only of arches with pedeftals. Their height is 
 from one and two thirds, to two and a half of their width ; and his piers are'all of 
 them, nearly three modules and three quarters ; excepting in the Compofite order, 
 where they are four and four fifths. 
 
 Scamozzi's Tufcan arch is, in height, fomewhat lefs than double its width; 
 which height he increafes gradually, till, in the Corinthian arch with pedeftals, 
 it is nearly tw ice and one half the width. His piers diminifh in proportion to the 
 mcreafe of delicacy in the orders : his Tufcan pier in arches without pedeftals, being 
 four modules and a half ; and his Corinthian only three modules and three quar- 
 ters. In arches with pedeftals, his Tufcan pier is four modules and two thirds ; 
 and his Corinthian only four modules. His imports and archivolts are likewife 
 varied ; and their proportions are relative to the width of the arches and the height 
 of the piers : fo that they are confiderably larger in arches with pcdertals, than in 
 thofe without. 
 
 _ Vignola's arches, being all of the fame proportion, do not charaaerize the 
 difference of the orders. His piers, in arches without pedertals, are too narrow • 
 and his archivolts too flight. In his Doric arch without pedeftals, the diftance 
 between the arch and arcrntravc of the order is too confiderable ; as it is indeed in 
 leveral others of his arches ; and, in his Doric with pedeftals, the piers are much 
 too broad. Palladio makes too great a difference between the height of his arches 
 His Tufcan and Doric are too low ; his Corinthian and Compofite much too high' 
 His piers bear a greater proportion to the void of the arch, in the delicate orders 
 than m the maffive. His archivolts are Mender, his imports clumfy, and ill profiled' 
 The apertures of Scamozzi's arches, are well proportioned ; except in the Corin- 
 thian order ; where they arc, like Palladio's, of an exceffive height. His piers bear 
 a proper relation to the arches; as do likewife his imports and archivolts, excepting 
 in the arches with pedeftals; where they are much too predominant, in regard 
 to the other parts of his compofition: and the members of which they confift "are 
 larger than thofe of the cornice of the order: a fault, which Palladio has likewife 
 been guilty of, to a very great excefs. 
 
 • Sec Plate of Arches. 
 
 At 
 
Op ARCADES and ARCHES. 
 
 87 
 
 At firft fight, it appears extremely reafonablc, to augment the fize of the 
 imports and archivolts of arches, in proportion to the increafe of the aperture ; and 
 in cafes where no order is employed, it ought always to be done : but when the 
 arches are, not only adorned with imports and archivolts, but are likewife fur- 
 rounded with pedeftals, columns, and entablatures; it muft be very improper, to 
 change confiderably, the proportions of any one of thefe parts ; while all the reft 
 remain unaltered ; fince the confequence muft be a confiderable difparity between 
 them: fo much the more ftriking, as they are near each other, and of fimilar 
 natures ; both circumftances tending to facilitate a comparifon : while, a trifling 
 difproportion between the aperture of the arch, and its impoft, or archivolt, will 
 feldom be perceived ; and never can be very difpleafmg to the eye. 
 
 In the annexed * plates are given defigns of arches in all the orders, wherein 
 it has been attempted to avoid the faults, with which the abovementioned matters 
 are charged. In the arches without pedeftals, their height is made equal to the 
 length of the column ; which height, is, in the Tufcan and Doric orders, fomcthing 
 lefs than double the width of the arch, and in the Corinthian or Compofite, 
 fomething more than double. And in arches with pedeftals, nearly the fame 
 proportion between the height and the width of the aperture is obferved. 
 
 The difference of width in the arches, (fuppofing the orders to be all of the 
 fame height,) not being confiderable, I have conftantly obferved the fame dimen- 
 sions ; as well in the piers, as in the impofts and archivolts; which is done to 
 avoid a troublefome and needlefs detail; the charaSers of the different orders 
 being fufficiently preferred without it. For though the Corinthian pier, contains 
 in width the fame number of modules as the Tufcan; yet, as thefe modules 
 diminifh, in proportion to the increafe of delicacy in the orders, the real fize of 
 the one, is to that of the other, only as feven to ten. 
 
 In the Doric order, the diftribution of the frize, makes it difficult to propor- 
 tion the apertures of the arches well; either with, or without pedeftals: for the 
 intervals of three or four triglyphs are too narrow, and thofe of four and five are 
 rather too wide. Palladio, to conquer that difficulty, has at the Carita in Venice, 
 omitted the ufual ornaments of the frize; and introduced, inftead of them, an 
 imitation of thofe on the frize of the Sybil's Temple at Trivoli : having at the fame 
 time made the diftance between the axis of the columns only eleven modules and 
 a half, inftead of twelve and a half ; which was the regular meafure. Le Clerc, 
 in his defigns of the Doric order, has diminifhed the breadth of the metopes and 
 triglyphs; and Scamozzi, has made his Doric columns feventeen modules high, 
 inftead of fixteen, their ufual dimenfion, and raifed them on plinths; which laft 
 expedient, Sangallo has likewife made ufe of, in the lower order of the Farnefe at 
 Rome. 
 
 In imitation of Sangallo, I have, in the Doric arch without pedeftals, raifed 
 the columns on plinths ; but avoided augmenting their height, as I did not incline 
 
 * See Plates of Arches without and with Pedeftals. 
 
 Tt to 
 
88 Of ARCADES and ARCHES. 
 
 to change the eftablifhed proportions of the order, where there appeared fo little 
 occafion for ^ However, if the lownefs of the arch fhould be 6bfeLd to, it may 
 eafily be remedied, either by mcreafing the height of the column as Palladio his 
 done in his arch with pedeftals, or by diminifhing the breadth of the metopes and 
 tnglyphs, according to Le Clerc's method, or by employing both thefe artifices 
 together: which laft, fhould be preferred ; as it renders^ cCge in he ^ opo r 
 tions of each particular part, lefs confiderable. & piopor- 
 
 VI TH , E / a , me .fP edie n nt s may be ufed in changing the meafures of the Doric arch 
 with pedeftals, if they fhould not pleafe ; obferling always, to divide L alteration 
 proportionably, between the pedeftal, the column, and the frize of the orde by 
 which means the height of the aperture may be brought to double £ widtif 
 without apparent detriment to any other part: for many things, which in the 
 ftn&iefs of theory appear licentious, are in reality of little or no conlequence in 
 the execution ; becaufe they are not eafily perceptible. 4 
 
 .1 T «E Proportions of the Tufcan arch may hkewife be changed, if required and 
 the height of the aperture be made nearer to double its width which as there 
 are neither mod.lhons nor dentils in the cornice, may be done without I„7 
 the proportion of any part of the order. 7 ° Ut chan S ln S 
 
 Should the breadths, which I have given to the niers nf .11 ri ,, i 
 ttoned a hes , though they fem tQ J w n eI1 t0 ^ P fl ^^othtTo" 
 confiderable; they may be diminifhed, and, in arches without pedeftal be 
 
 or sr?*hW ; ° ii,c pim ' ,hdr p'* 81 " *p«* o" i»« 
 
 ra me import, ol which the moll prominent part, mould be in a line with the axi, 
 ol he colomn ; a , lead ,„ ,h e Tofcan and Dorie orders : but in the Ionie Comnofc 
 
 Bloomfbury, and at the Banquetting-Houfe, Whitehall. ? ^ 
 L lN P r oP°rtion to the incrcafe of delicacy in the orders, I have increafed the 
 
 g£ f s&:s£i J^ltM 
 
 Ihnee, of far mo ,e eonfeoueuee, than any drf^h^SX 
 
 thicknefs 
 
Of ARCADES and ARCHES. 
 
 89 
 
 thicknefs of the pier, and the diameter of the column; which can fcldom be 
 difcovered, and never without a nicer inflection than can take place, in obferving 
 the general effect of any compofition. 
 
 With regard to the interior decoration of arcades, the portico may either 
 have a flat ceiling, or be arched in various manners. When the ceiling is flat, 
 there may be on the backs of the piers pilafters ; of the fame kind and dimenfions, 
 with the columns on their fronts ; facing which pilafters, there muff be others like 
 them, on the back wall of the portico. Their projection, as well as that of thofe 
 againft die back of the piers, may be from one fixth to one quarter of their 
 diameter. Thefe pilafters, may fupport a continued entablature ; or one inter- 
 rupted, and running acrofs the portico over every two pilafters, in order to form 
 coffers. Or the architrave and frize only may be continued, while the cornice 
 alone, is carried acrofs the portico, over the pilafters as before ; and ferves to form 
 compartments in the ceiling : as is done in the veftibule of the Maffimi Palace at 
 Rome, and in the great liable of the King's Mews, near Charing Crofs. 
 
 Where the portico is arched, either with a femi-circular, or elliptical vault, 
 the backs of the piers, and the inner wall of the portico may be decorated with 
 pilafters, as is above defcribed, fupporting a regular continued entablature ; from a 
 little above which, the arch fhould take its fpring, that no part of it may be hid by 
 the projection of the cornice. The vault may be enriched with compartments of 
 various regular figures, fuch as hexagons, octagons, fquares, and the like, of which 
 and their decorations, feveral examples are given among the defigns for ceilings. 
 But when the vault is groined, or compofed of flats, circular or domical coves, 
 fuftained on pendentives, the pilafters may be as broad as are the columns in 
 front of the piers ; but they mull rife no higher than the top of the impoft, the 
 mouldings of which, muft finifh and ferve them inftead of a capital : from whence 
 the groins and pendentives are to fpring, as alfo the bands, or arcs doubkaux which 
 divide the vault. 
 
 In the third plate of arches are fix different defigns of arcades, all of them 
 compofed by celebrated matters, and perfect in their kind. Fig. 1 , though lefs lb 
 than the reft, is notwithftanding the invention of Serlio; who recommends that 
 manner of arching, in cafes, where columns are already provided, (as it frequently 
 happens in places abounding with antiquities,) of which the length is not fufheient 
 for the intended purpofe. And he obferves, that, where thefe arches are ufed, it 
 will be neceffary to fecure them with ftrong abutments at each end. The great 
 aperture of this kind of arch, may be from four and a half, to five diameters 
 of the column in width, and in height, double that dimenfion ; the width of 
 the fmall aperture muft never exceed two thirds of that of the large one, and its 
 height is determined by the height of the columns. To me, it feems, that this 
 fort of difpofition might be confiderably improved, by adding an architrave 
 cornice, or an entablature to the column, by omitting the rufticks, and by fur- 
 rounding the arches with archivolts. 
 
 Fig. 2, is of Vignola's invention, and executed by him in the Cortile of 
 the cattle at Caprarola. The arches are, in height, fomewhat more than twice 
 their width ; the diftance from the arch to the top of the cornice, is equal to one 
 
 U u third 
 
9 o 
 
 Of ORDERS above ORDERS. 
 
 third of the height of the arch; the breadth of the pier, is equal to the width of 
 the arch; and the aperture of the window, occupies nearly one third of that 
 breadth. Fig. 3, is an invention of Bramante, and executed in the Garden of 
 the Belvidcre at Rome. The height of the arch, is a trifle more than twice its 
 width ; the breadth of the pier, is equal to the width of the arch ; and being 
 divided into twelve parts, two of them are given to the parts of the pier fupporting 
 the archivolts, four to the two columns, two to the intervals between the nich 
 and the columns, and four to the nich. The height of the pedeftal is half the 
 diameter of the arch ; the columns are ten diameters in height ; and the height 
 of the entablature, is one quarter of the height of the columns : the import and 
 archivolt are, each of them, equal to half a diameter of the column. Fig. 4, is 
 very common in the works of Palladio, and has been often imitated by Inigo 
 Jones. The height of the arch may be about twice its width, and the breadth 
 of the pier fhould never be lefs than one, nor more than two thirds, of the width 
 of the arch. Fig. 5, is a defign of Vignola, executed at Monte Dragone, a feat 
 of the Princes Borghefi, near Frefcati. The height of the arch is fomething 
 more than twice its width ; and the breadth of the pier, including the columns 
 that fupport the arch, is a trifle lefs than the width of the arch itfelf. Fig. 6, 
 is an invention of Palladio, and executed by him in the Bafilica at Vicenza. The 
 moft beautiful proportion for compolitions of this kind is, that the aperture 
 of the arch be in height twice its width; that the breadth of the pier do not exceed 
 that of the arch, nor be much lefs; that the fmall order be in height two thirds 
 of the large columns ; which height, being divided into nine parts, eight of them 
 muft be for the height of the column, and the ninth, for the height of the archi- 
 trave cornice ; two fifths of which, mould be for the architrave, and three for the 
 cornice. The breadth of the archivolt, mould be equal to the fuperior diameter of 
 the fmall columns, and the key-ftone at its bottom, muft never exceed the fame 
 breadth. 
 
 Of ORDERS above ORDERS. 
 
 WHEN two, or more orders are employed, and placed upon each other in a 
 building ; the laws of folidity require, that the ftrongeft fhould be placed 
 lowermoft: wherefore the Tufcan is to fupport the Doric, the Doric the 
 Ionic, the Ionic the Compofite or Corinthian, and the Compofite the Corinthian 
 only. 
 
 This rule, however, has not always been ftrictly adhered to: moft authors 
 place the Compofite above the Corinthian ; and we find it fo difpofed in many 
 modern buildings. There are likewife examples, where the fame order is repeated ; 
 as at the theatre of Statilius Taurus, and the Colifeum : and there are others, where 
 an intermediate order is omitted, and the Ionic placed on the Tufcan, or the 
 Corinthian on the Doric. But none of thefe praftices are regular. The firft of 
 them, is an evident trefpafs againft the rules of folidity, and fhould never be 
 imitated ; the fecond occalions a tirefome uniformity ; and the laft cannot be effected 
 without feveral difagreeable irregularities. For if the diameter of the fuperior order, 
 
 be 
 
9 r 
 
 Of ORDERS above ORDERS. 
 
 be in the fame proportion to that of the inferior, as if the fucceffion were regular ; 
 the upper order will be higher than the lower one ; and if the diameter be kilned, 
 in order to diminifh the height, the column will be too flender ; the intercolumnia- 
 tion, which at heft, becomes too wide, will be ftill more enlarged ; and the piers, 
 if there be arches, will be confiderably too broad. Befides all which, the charafters 
 of the different orders will be much too oppofite, to be employed in the fame 
 afpeft, without being connefted by fome preparatory decoration. 
 
 In placing columns above each other, it is always to be obferved, that the 
 axis of all the columns muft correfpond, and be in the fame perpendicular line, 
 at leaft in front ; in flank, they may or may not be fo, as {hall be moft convenient ; 
 though it is certainly more regular, as well as more folid, to place them on a 
 perpendicular line in flank likewife. At the theatre of Marcellus, the axis of the 
 Ionic column, is almoft a foot within that of the Doric one below it; which, as the 
 columns are engaged, and the wall of the fecond ftory is confiderably retraaed, 
 could not well be avoided : and in cafes of a fimilar nature, where the fohdity of 
 the ftru&ure is not affeaed by it, the fame method may be taken; obferving, 
 however, never to make the retraaion greater, than it is at the theatre of Marcellus ; 
 where the front of the plinth, in the fecond order, is in a line with the top of the 
 lhaft in the firft. 
 
 But wherever columns are detached, it will always be belt to place them 
 exaaiy over each other, that fo the axis of all may form one continued perpendi- 
 cular line: for then the ftruaure will be folid, which it cannot be, when the 
 fuperior column is placed confiderably within the inferior one ; as a great part of 
 it can then have no other fupport, than the entablature of the order below it. It is 
 indeed true, that by fo doing, the bafes of the upper order will have a falfe bearing 
 in front, as well as on the fides ; but there being no poffibihty of removing this 
 inconveniency on the fides, it would be a matter of no confequence to remove it 
 in front, where it is fcarcely perceptible. 
 
 VlTRUVlUS, in the firft chapter of his fifth book, fays, that the columns in a 
 fecond ftory mould be lefs than thofe in a firft by one quarter; for the inferior 
 parts being moft loaded, ought to be ftrongeft : and in the feventh chapter of the 
 fame book, he repeats the lame precept; adding, that, li a third order, fhould 
 be placed upon a fecond, its columns ought likewife to be lefs by one quarter than 
 thofe of the fecond order. So that, according to this rule, the height of the column 
 in the third order, would only be nine fifteenths of that in the firft : and if the 
 columns were placed on pedeftals ; which, according to him, muft be lefs by one 
 half in a fuperior, than in an inferior order; the height of the pedeftal and column 
 in the fecond order; would be to their height in the firft, as eleven to fixteen ; and 
 the height of the pedeftal and column, in the third order, would be to their height 
 in the firft, nearly as fifteen to thirty-two: that is, lefs by more than one half. 
 And further, if three orders of detached columns thus proportioned were placed 
 one above the other, as, for inftance, the Doric, Ionic, and Corinthian ; and the 
 lower intercolumniations were euftyle, or of two diameters and one third ; the 
 fecond intercolumniations would be arasoftyle, or of four diameters ; and the third 
 would be nearly of fix diameters and a half: a width of intercolummation extremely 
 unpleafing to the eye, at any rate unfolid, and, according to. Vitruvtus s own 
 
9 2 
 
 Of ORDERS above ORDERS. 
 
 doctrine, not practicable but where the architraves are made of timber. And if, 
 in like manner, three orders of engaged columns were placed above each other, 
 either alone, or on pedeftals ; and the lower intercolumniation, was of a proper 
 width to admit a well proportioned nich, window, door or arch, it would be 
 exceedingly difficult to decorate the fecond intercolumniation, and abfolutely impof- 
 fible to decorate the third ; which though confiderably wider than the firft, would 
 be no more than about half as high. 
 
 I shall not trouble the reader with the various opinions and practices of the 
 modern architects, with regard to the proportion of orders placed above each other,' 
 the curious may confult BlondePs cours d'architecture, where the greateft part of 
 them are enumerated, and their merits nicely weighed ; the whole difcuffion being 
 fpun out, to the extent of feventy well filled folio pages. It will be fufficient to 
 obferve, that Scamozzi's rule is univerfally efteemed the beft ; being fimple, natural, 
 and attended with fewer inconveniences than any other. It is built upon a paffage 
 in the fifth book of Vitruvius, and imports, that the lower diameter of the fuperior 
 column, fhould conftantly be equal to the upper diameter, of the inferior one; 
 as if all the columns were formed of one long tapering tree, cut into feveral 
 pieces. 
 
 According to this rule, the Doric column will be to the Tufcan, as thirteen 
 and one third to fourteen ; the Ionic to the Doric, as fifteen to fixteen ; the Compo- 
 fite or Corinthian to the Ionic, as fixteen and two thirds to eighteen ; and the 
 Corinthian to the Compofite, as fixteen and two thirds to twenty. 
 
 In this progreffion it appears, that when the Compofite and Corinthian are 
 employed together, the relations between them are more diftant, than between any 
 of the other orders. But this may be remedied by leflening the diminution of the 
 inferior column, making its upper diameter fix fevenths, or feven eights of the lower 
 one, inftead of five fixths : though, to fay the truth, the very beft expedient will 
 be, never to ufe thefe two orders in the fame afpeft ; for they are fo much alike, 
 that it differs little from a repetition of the fame object. 
 
 It may probably be objeaed, that the inferior orders, according to the above- 
 mentioned proportions, will not be fufficiently predominant. But if both the orders 
 are continued throughout the front, this is of no confequence; there are many 
 examples, where the difference between them is not greater, which yet fucceed 
 perfectly well, and are generally efteemed. And if, the fuperior order only fubfifts 
 in the middle, or at the ends, as is often the cafe ; then the parts of the inferior 
 order, over which no fuperior is placed, are generally finifhed with a baluftrade, 
 levelling with the cills of the windows in the fecond order ; which unites with, and 
 is fufficient, to give a proper degree of predominance, to the lower part o'f the 
 compofition. 
 
 In England there are few examples of more than two ftories of columns in the 
 fame afpeft: and though in Italy, and other parts of Europe we frequently meet 
 with three, and fometimes more; yet it is a praffice by no means to be recom- 
 mended, or imitated: for there is no pofiibility of avoiding many ftrikino- 
 lnconfiftences; or of preferving the charader of each order, in the intercolumnial 
 
 decorations. 
 
Of ORDERS above ORDERS. 
 
 93 
 
 decorations. Palladio has attempted it at the Carita in Venice ; Sangallo in the 
 Palazzo Farnefe at Rome ; Ammannato in the Cortile of the Pitti at Florence : but 
 all unfuccefsfully. It is even difficult to arrange two orders with any tolerable 
 degree of regularity, for the reafons already offered in the beginning of this chapter; 
 which will remain in force, even when Scamozzi's rule is obferved, though the 
 relations between the heights of the different orders, are then lefs diftant, than by 
 any other method. 
 
 In the firft plate of orders above each other, I have given defigns of double 
 colonades in all the orders; which are fo difpofed that the modillions, mutules, 
 triglyphs, and other ornaments of the entablature, fall regularly over the axis of the 
 columns, except in the Compofite and Corinthian combination; where, in the 
 euftyle interval, the modillions of the fecond cornice do not exactly anfwer. But 
 the diftance of the object from the fpectator's eye, makes this irregularity lefs 
 important ; more efpecially as a modillion will fall exactly over the axis of every 
 third column. Neverthelefs, if a fcrupulous accuracy fhould be required, the enta- 
 blature may be augmented, and made full five modules high; by which means, 
 the diftribution wall be perfectly regular. 
 
 Among the intercolumniations exhibited in the abovementioned plate, there 
 are fome in the fecond orders extremely wide ; fuch as the Ionic interval, over the 
 Doric arasoftyle ; the Compofite and Corinthian intervals, over the Ionic and Com- 
 pofite arasoftyles ; which having a weak, meagre appearance, and not being fuffi- 
 ciently folid, excepting in fmall buildings, are feldom to be fuffered, and fhould 
 feldom be introduced. The moft eligible are, the euftyle and diaftyle for the firft 
 order ; which produce nearly the diaftyle and the araeoftyle in the fecond. 
 
 Many architects, among which number are Palladio and Scamozzi, place the 
 fecond order of columns on a pedeftal. In compofitions confifting of two ftories 
 of arcades, this cannot be avoided ; but in colonades it may, and ought : for the 
 addition of the pedeftal, renders the upper ordonnance too predominant ; and the 
 projection of the pedeftal's bafe, is both difagreeable to the eye, and much too heavy 
 a load on the inferior entablature. Palladio, in the Barbarino Palace at Vicenza, 
 has placed the columns of the fecond ftory on a plinth only ; and this difpofition 
 is belt : the height of the plinth being regulated by the point of view, and made 
 fufficient to expofe to fight, the whole bafe of the column. In this cafe, the 
 baluftrade muft be without either pedeftals or half balufters to fupport its extre- 
 mities; becaufe thefe would contract, and alter the form of the column; its rail, or 
 cap, muft be fixed to the fhafts of the columns, and its bafe made to level with 
 their bafes ; the upper torus and fillet of the columns being continued in the 
 interval, and ferving as mouldings to the bafe of the baluftrade. The rail and 
 balufters muft not be clumfy : wherefore it is belt to ufe double-bellied balufters ; 
 as Palladio has done in moft of his buildings, and to give to the rail, very little 
 projection ; that fo, it may not advance too far upon the furface of the column, 
 and feem to cut into it. In large buildings, the center of the balufter may be in 
 a line with the axis of the column : but in fmall ones, it muft be within it, for the 
 reafon juft mentioned. 
 
 Yy 
 
 The 
 
94 
 
 Of ORDERS above ORDERS. 
 
 The height of the baluftrade is regulated, in a great meafure, by its ufe; and 
 cannot well be lower than three feet ; nor fhould it be higher than three and a half, 
 or four feet. Neverthelefs, it muft neceffarily bear fome proportion to the reft of 
 the architecture, and have nearly the fame relation to the lower order, or whatever 
 it immediately ftands upon, as when a baluftrade is placed thereon, chiefly for 
 ornament. Wherefore, if the parts are large, the height of the baluftrade muft be 
 augmented ; and if they are fmall, it muft be diminifhed, as is done in the Cafino 
 at Wilton, where it is only two feet four inches high, which was the largeft 
 dimenfion that could be given to it, in fo fmall a building. But that it might, 
 notwithftanding its lownefs, anfwer the intended purpofe, the pavement of the 
 portico is fix inches lower than the bafes of the columns, and on a level with, the 
 bottom of the plat-band that fmifhes the bafement. 
 
 The beft, and indeed the only good difpofition, for two ftories of arcades, is 
 to raife the inferior order on a plinth, and the fuperior one on a pedeftal ; as 
 Sangallo has done at the Palazzo Farnefe: making both the ordonnances of an equal 
 height, as Palladio has done at the Bafilica of Viccnza. In the fecond plate of 
 orders above each other, there are defigns of arches upon arches for each order, 
 which are perfectly regular, and well proportioned. 
 
 Scamozzi, in the thirteenth chapter of his fixth book, fays, that the arches 
 in the fecond ftory fhould not only be lower, but alfo narrower, than thofe in the 
 firft; fupporting his doctrine by feveral fpecious arguments, and by the practice, 
 as he fays, of the ancient architects, in various buildings mentioned by him. In 
 moft of thefe however, the fuperior arches are fo far from being narrower, that 
 they arc either equal to, or wider than the inferior ones. In fact, his doctrine in 
 this particular is very erroneous, entirely contrary to reafon, and productive of 
 feveral bad confequences : for if, the upper arches be narrower than the lower 
 ones, the piers muft of courfe be broader ; which is oppofite to all rules of folidity 
 whatever, and exceedingly ugly to the fight. The extraordinary breadth of the 
 pier on each fide of the columns, in the iuperior order, is likewife a great de- 
 formity : even when the arches are of equal widths, it is much too confiderable. 
 Palladio has, at the Carita in Venice, and at the Thieni Palace in Vicenza, made 
 his upper arches wider than the lower ones ; and I have not hefitated to follow his 
 example : as by that means the weight of the folid in the fuperior order is fomewhat 
 diminifhed, the fronts of the upper piers bear a good proportion to their refpective 
 columns, and likewife to the reft of the compofition. 
 
 In a fecond ftory of arcades, there is no avoiding pedeftals. Palladio has 
 indeed omitted them at the Carita : but his arches there, are very ill proportioned. 
 The extraordinary bulk and projection of thefe pedeftals are, as before obferved, 
 a confiderable defect : to remedy which, in fome meafure, they have been fre- 
 quently employed without bafes ; as in the theatre of Marcellus, on the outfide 
 of the Palazzo Thieni, and that of the Chiericato in Vicenza. This, however, 
 helps the matter but little ; and it will be beft to make them always with bafes, of 
 a moderate projection ; obferving at the fame time, to reduce the projection of the 
 bafes of the columns to ten minutes only, that the die may be no larger than is 
 
 abfolutely 
 
Of ORDERS above ORDERS. 
 
 95 
 
 abfokttely neceflary, and in this cafe particular care muft be taken, not to break the 
 entablature over each column of the inferior order ; becaufe the falfe bearing of the 
 pedeftal, in the fecond order, will by fo doing be rendered far more ftriking, and 
 in reality more defective; having then no other fupport, than the projecting 
 mouldings of the inferior cornice. There is no occafion to raife the pedeftals of 
 the fecond order on a plinth : for, as they come very forward on the cornice of 
 the firft order, and as the point of view muft neceffarily be diftant, a very fmall 
 part only, of their bafes, will be hid from the eye. 
 
 The baluftrade muft level with the pedeftals fupporting the columns ; its rail 
 or cornice, and bafe, muft be of equal dimenfions, and of the fame profiles, with 
 theirs. It fhould be contained in the arch, and fet as far back as poffible ; that the 
 form of the arch may appear diftinft, and uninterrupted from top to bottom : for 
 which reafon likewife, the cornice of the pedeftals muft not return, nor profile round 
 the piers, which are to be continued in ftraight perpendicular lines, from the 
 impofts to the bafes of the pedeftals. The back of the rail may either be made 
 plain, or be funk into a pannel, in form of an open furbafe, for fo it will be moft 
 convenient to lean upon, and it Ihould be in a line with, or fomewhat receffed 
 within the backs of the piers. The back part of the bafe of the baluftrade, may 
 be adorned with the fame mouldings as the bafes of the piers ; provided they have 
 not much projection ; but if that fhould be confiderable, it will be beft to ufe only 
 a plinth, crowned with the two upper mouldings, that fo the approach may remain 
 more free. 
 
 In the Doric arch above the Tufcan, I have reduced the entablature to three 
 modules, twenty-two minutes ; which was neceflary, in order to have the arch well 
 proportioned : and as its bearing is very confiderable, this licence feems the more 
 excufable. The parts of the entablature have the fame proportion to each other as 
 ufual ; the only difference being, that, inftead of determining their meafures by the 
 module of the column, they muft be determined by another module, made equal 
 to one quarter of the height of the entablature. The pedeftals and the baluftrade 
 are in this, as in the other arches, equal to the height of the entablature ; which 
 was done to preferve the fame general rule throughout : but as the entablature here 
 bears a fomewhat larger proportion to the column than in the other orders, the 
 height of the baluftrade is perhaps a trifle too confiderable, and may therefore, if 
 required, be reduced to two ninths of the column, as in the Ionic order ; and what 
 is thus deducted from the height of the entablature, may be added to the height 
 of the column, which by that means will acquire a more elegant proportion. 
 
 I have reduced the Ionic, Compofite and Corinthian entablatures, in the 
 fecond orders, to two ninths of the height of their refpective columns ; and having 
 allowed to each dentil with its interval, a breadth of nine minutes of the regular 
 module of the column, the dentils and modillions anfwer exactiy to almoft all the 
 intercolumniations. In the defign of arches fupported by columns, the fmall order 
 in the fecond ftory is a trifle lower than ufual ; which cannot be avoided : for, if it 
 be made two thirds of the large column, there will not be room above it for the 
 circular part of the arch with its archivolt. 
 
 Z z Of 
 
( 96 ) 
 
 Of BASEMENTS and ATTICS. 
 
 INSTEAD of employing feveral orders one above the other in a compofition, 
 the ground floor, is fometimes made in the form of a continued bafe ; called a 
 Bafement: on which the order that decorates the principal ftory, is placed. 
 The proportion 'of thefe bafements is not fixed, it depends on various circumftances, 
 but chiefly on the nature of the apartments compofing the ground floor. 
 
 In Italy, where their furnmer habitations are very frequently on that floor, the 
 bafements are fometimes very high. At the palace of the Porti in Vicenza, the 
 height is equal to that of the order placed thereupon ; and at the Thieni, in the 
 fame city, its height exceeds two thirds of that of the order, although it be almoft 
 of a fufficient elevation, to contain two ftories : but at the Villa Capra, and at the 
 Loco Arfieri, both near Vicenza, the bafement is only half the height of the order; 
 becaufe in both thefe, the ground floor confifts of nothing but offices. 
 
 It will be fuperfluous to cite more examples of the diverfity of proportions, 
 obferved by architcfts in this part of a building ; as the four abovementioned, all of 
 them eftimable works of the great Palladio, will fufficiently authorife any varia- 
 tions that it may be neceffary to make. It will not, however, on any occafion be 
 advifable to make the bafement higher than the order it is to fupport: for the 
 order being the richeft objea of the compofition, and indicating the principal part 
 in the fabrick, ought to be predominant. Befides, when the grand apartment is 
 raifed too high, as is the cafe at Cazerta, where the afcent exceeds a hundred fteps ; 
 it lofes much of its importance, by the approach to it being rendered tediou,' 
 tirefome, and difficult. Neither fhould a bafement be lower than half the height 
 of the order, if it is to contain apartments, and confequently have windows and 
 entrances into it: for whenever that is the cafe, the rooms will be low, the windows 
 and doors very ill formed, or not proportionate to the reft of the compofition, as is 
 obfervable at Holkham : but if the only ufe of the bafement be to raife the ground 
 floor, it need not exceed three, four, or at the moft five or fix feet in height ; and 
 be in the form of a continued pedeftal. 
 
 The ufual manner of decorating bafements is, with ruftics of different kinds 
 The beft, in buildings where neatnefs and finifhing is aimed at, are fuch as have a 
 fmooth furface. Their height, including the joint, fhould never be lefs than one 
 module of the order placed upon the bafement, nor much more : and their figure 
 may be from a triple fquare to a fefquialtera. The joints between them may either 
 be fquare or chamfered : the fquare ones fhould not be wider than one eighth of 
 the height of the ruftic, nor narrower than one tenth ; and their depth muft be 
 fomewhat lefs, or at moft equal to their width. Of thofe that have chamfered 
 joints, the chamfer muft form a reaangle, and the width of the whole joint may be 
 from one fourth to near one third of the height of the flat furface of the ruftic. In 
 France we frequently fee only the horizontal joints of ruftics marked ; the vertical 
 ones being entirely omitted : and in Sir John Vanbrugh's works, the like is alfo 
 
 very 
 
Of BASEMENTS and ATTICS. 
 
 Very common : but it has in general, a bad effect, and ftrikes as if the building 
 were compofed of boards, rather than of flone. Palladio's method feems far 
 preferable, who, in imitation of the ancients, always marked both the vertical and 
 horizontal joints; and whenever the former of thefe are regularly and artfully 
 difpofed, the ruftic work has a very beautiful appearance. I have in the courfe of 
 the work given various defigns of ruftic bafements*, diftributed in different manners, 
 all which are collected from buildings of note. 
 
 The bafement, when high, is fometimes finifhed with a cornice, as in the 
 fccond figure of the third plate of arches, and as in the Strand front of Somerfet- 
 Place : but the ufual method is only to crown it with a plat-band, as in the fourth 
 figure of the fame plate ; and as in the river front and fquare of the fame building : 
 the height of which fhould not exceed the height of a ruftic with its joint, nor ever 
 be lower than a ruftic exclufive of the joint. The zocholo or plinth at the foot 
 of the bafement, mult at leaft be of the fame height with the plat-band, in general 
 it fhould be fomewhat higher; and whenever there are arches in the bafement, 
 the plat-band which fupplies the place of the import, mult be of the fame height 
 as one of the rufticks, exclufive of its joint ; and where a cornice is introduced 
 to finifh the bafement, a regular moulded bafe to the fame muft alio be introduced. 
 To the height of the cornice may be given one feventcenth or eighteenth part of 
 the whole bafement, and to that of the bafe about twice as much, divided into fix 
 parts ; of which the lower five fixths fhould form the plinth, and the upper fixth 
 part, be compofed of mouldings. 
 
 It is fometimes ufual, inftcad of a fecond order to crown the firft with an 
 attick ; as Palladio has done at the Porti and Valmarino Palaces, in Vicenza, and 
 Inigo Jones at Greenwich-Hofpital. Thefe atticks fhould never exceed, in height, 
 one third of the height of the order on which they are placed ; nor ever be lefs 
 than one quarter. Their figure is that of a pedeftal. The bafe, dye, and cornice, 
 of which they are compofed, may bear the fame proportions to each other as thofe 
 of pedeltals do ; and the bafe and cornice may be compofed of the fame mouldings, 
 as thofe of pedeltals are. Sometimes thefe atticks are continued throughout, without 
 any breaks ; at other times parts project, and form pilafters over each column or 
 pilafter of the order. The breadth of thefe pilafters is feldom made narrower than 
 the upper diameter of the column or pilafter under them, nor ever broader. Then- 
 projection may be equal to one quarter of their breadth, or fomewhat lefs ; and 
 their fronts are fometimes adorned with pannels funk in and furrounded with mould- 
 ings, as they were on the front of Powis-Houfe ; but this, on moft occafions, as it 
 looks too like joiners work ; fhould be avoided as well as the capitals with which 
 they are often adorned, particularly in France : becaufe they then approach too 
 near the figure of regular pilafters of the orders, and being much broader than thefe, 
 in proportion to their height; always carry with them the idea of a ftuntcd, clumfy, 
 ill-proportioned compofition. 
 
 • See Plate 3 of Windows, and Plate 3 of Arches, 
 
 A a a 
 
 Of 
 
( 98 ) 
 
 Of PEDESTALS. 
 
 A PEDIMENT confifts of a horizontal cornice, fupporting a triangular or 
 curvilineal fpace ; either plain or adorned, called the Tympanum or Tympan ; 
 which is covered, either with two portions of ftraight, inclined cornice ; or 
 with one curvilineal cornice, following the direction of its upper outline. At each 
 end of thefe cornices and on their fummit, are placed little plinths or pedeftals, 
 called Acroterions or Acroters, ferving to fupport the ftatues, vafes, or other 
 ornaments, which are ufed to enrich, and to terminate the pediment gracefully. 
 
 Pediments owe their origin, molt probably, to the inclined roofs of the 
 primitive huts. Among the Romans they were ufed only as coverings to their 
 facred buildings ; till Caefar, obtained leave to cover his houfe with a pointed roof, 
 after the manner of temples. In the remains of antiquity we meet with two kinds 
 of them; viz. triangular and circular. The former of thefe are promifcuoufly 
 applied to cover fmall or large bodies : but the latter, being of a heavier figure, 
 are never employed but as coverings to doors, niches, windows, or gates ; where 
 the fmallnefs of their dimenfions, compenfates for the clumfmefs of their form. 
 
 As a pediment reprefents the roof, it mould never be employed but to 
 terminate and finilh the whole compofition. Yet, in the churches of Rome and 
 of Paris, we frequently fee one ufed to finifh the firfl order of a poixh ; another to 
 finiih the fecond order ; and fometimes even a third or fourth above thefe : but 
 this, however, is a practice which mould not be imitated. Licinius, the mathema- 
 tician, anciently reprehended Apaturius, the painter, merely for reprefenting an 
 abfurdity of this kind in a picture : for who, faid he, ever faw houfes and columns 
 built upon the roofs and upon the tylings of other houfes ? Befides the inclined top 
 of a pediment is, in appearance at lead:, a very unliable bafe for a range of columns 
 or other heavy bodies. 
 
 Nor is it more reafonable to place two or three pediments one within another ; 
 as on one of the pavilions in the court of the Old Louvre at Paris, at St. Mary's 
 in Campitelli, and at the church of the Great Jefu at Rome: fmce the fame 
 building can certainly want but one roof, to cover it! 
 
 On circular bodies, pediments fhould never be applied, as at the church of 
 St. Thomas in the Louvre at Paris ; that kind of roof, being of a very improper 
 conftru&ion for covering circles; and far from plealing to the eye; as, in fuch 
 cafes, they appear in almoft every view, contorted and irregular. 
 
 Some writers there are, who object to pediments in interior decorations; 
 becaufe, fay they, where the whole is covered and enclofed, there can be no occa- 
 fion for coverings to fhelter each particular part. In this, however, they feem to 
 carry their reafoning rather too far ; a ftep farther would lead them into the fame 
 
 road 
 
Of PEDIMENTS. 
 
 99 
 
 road with Father Laugier; who, having fagacioufly found out, that the firft build- 
 ings confifted cf nothing but four trunks of trees, and a covering ; confiders almoft 
 every part of a building, excepting the column, the entablature, and the pediment, 
 as licentious or faulty; and in confequence thereof, very cavalierly banifhes at once 
 all pedeftals, pilafters, niches, arcades, atticks, domes, &c. &c. It is only by 
 fpecial favour, that he condefcends to tolerate doors, or windows, or even walls. 
 
 There are many favourers of this writer's fyftem, who, like him, concentrate 
 all perfection in propriety. It were indeed to be wiflied that fome invariable 
 ftandard could be difcovered, whereby to decide the merit of every production of 
 the arts : but, certainly, Father Laugier has not hit the mark. Beauty and fitnefs, 
 are qualities that have very little connection with each other : in architecture they 
 are fometimes incompatible ; as may eafily be demonftrated from fome of the Father's 
 own Angular compofitions ; with a defcription of which, he has enriched his book. 
 And there are many things in that art, which though beautiful in the higher! 
 degree, yet carry with them in their application, an evident abfurdity : one 
 inftance whereof is the Corinthian capital; a form compofed of a flight bafket 
 furround'ed with leaves and flowers. Can any thing be more unfit to fupport a 
 heavy load of entablature, and fuch' other weights as are ufually placed upon it ? 
 yet this has been approved and admired fome thoufand years, and will probably ftill 
 continue to be approved and admired, for ages to come. 
 
 Let it not be imagined, however, that it is by any means intended, entirely 
 to lay afidc a regard to propriety ; on all occafions it muft be kept in view : in 
 things defigned for ufe, it is the primary confideration ; and fhould on no account 
 whatever be trefpaffed upon : but in objects merely ornamental, which are calculated 
 to captivate the fenfes, rather than to fatisfy the underftanding, it feems unreafon- 
 able to lacnfice other qualities more efficacious, to fitnefs alone. 
 
 The rigid ancient artifts, introduced but few pediments into their buildings; 
 ufually contenting themfelves with a fingle one, to diftinguifh and adorn the center 
 or principal part of the ftructiire : but in the more licentious times of antiquity, 
 as well as in modern practice, and particularly amongfl the Italians, fuch has been 
 the rage after pediments, that their buildings frequently confift of almoft nothing 
 elfe. At Rome the fronts of moft of their churches are covered with them ; as are 
 likewife many of their palaces and private houfes, where they are feen of all fizes 
 and figures. For, belides the triangular and round, they have fome compofed of 
 both thefe forms ; fome of an undulated figure ; fome femi-hexagonal ; fome with 
 the inclined cornice and tympan open in the middle, to receive a vafe, a buft, a 
 nich with a ftatue, or a tablet for an infeription ; and others where the aperture 
 is left void, and the two ends of the inclined cornice are finifhed with a couple of 
 volutes, or fleurons. There is likewife a fort of pediment compofed of two half 
 pediments, which are not joined together to form a whole one, but reverfed ; the 
 fummits being turned outwards. Of this kind there is one under the porticos of 
 the Gallery of Florence, with a buft wedged in between the two fections. England 
 is far from being free of thefe extravagances; the buildings of London exhibit 
 many examples of each kind, which not to offend, I fhall forbear to point out. 
 
 B b b 
 
 The 
 
100 
 
 Of PEDIMENTS. 
 
 The beam, being a neceffary part in the conltruction of a roof, it is an impro- 
 priety to intermit or retrench, the horizontal entablature of a pediment, by which 
 it is reprefented; either to make room for a nich, as at St. John's, Weftminfter; 
 or for an arch, as in the cathedral church of St. Paul's; or for a window, as is 
 cuftomary in moft of the new buildings in this city, where a femi-circular window 
 is generally introduced, between the inclined cornice of the pediment and the 
 aperture of the door, in order to gain light for the hall or paffage : and this licence 
 is fo much the more reprehenfible, as it is extremely ugly ; the two parts of the 
 inclined cornice thus difunited, as it were untied, and unfupported, always ftriking 
 the fpeftator, with the idea of a couple of leavers, applied to overturn the columns 
 on each fide. The making feveral breaks in the horizontal entablature, or cornice, 
 of a pediment, as at the King's Mews near Charing Crofs, and on the pediments 
 in the flanks of St. Paul's, is an impropriety of a fimilar nature, and equally 
 unpleafing to the eye. 
 
 Vitruvius obferves, that the Greeks never employed either modillions or 
 dentils in the horizontal cornices of their pediments; both of them reprefenting 
 parts in the conltruction of a roof, which cannot appear in that view. This their 
 praftice, is obfervable in the temple of Minerva at Athens, and in fome other build- 
 ing yet Handing in Greece ; there is an ancient Roman inftance of it, in the temple 
 of Scifi, mentioned by Palladio ; and a modern one in the front of the Fueillants, 
 near the Thuilleries at Paris, built by one of the Manfards. 
 
 All this is no doubt extremely proper, but at the fame time, it is as furely 
 extremely ugly. The difparity of figure and enrichment, between the horizontal 
 and inclined cornices, are fuch defeds, as cannot be compenfated by any degree of 
 propriety whatever : and therefore, to me it appears belt, in imitation of the 
 greateft Roman and modern archkefts, always to make the two cornices of the 
 lame profile ; thus committing a trifling impropriety, to avoid a very confiderable 
 deformity. 
 
 In regular architecture, no other form of pediments can be admitted befides 
 the triangular and round. Both of them are beautiful : and when a confiderable 
 number of pediments are introduced, as when a range of windows are adorned with 
 them, thefe two figures may alternately be employed ; as they are in the niches of 
 the Pantheon at Rome, and in thofe of the temple of Diana at Nimes. 
 
 It is to be obferved, that the two uppermoft mouldings of the cornice are 
 always omitted in the horizontal one of a pediment ; that part of the profile being 
 directed upwards, to finifh the inclined cornices. This difference of direction, 
 increafes the height of the cyma very confiderably, and makes it far too large for 
 the other parts of the entablature : to obviate which, fome architects have made a 
 break in the cyma and fillet, as reprefented in the fourth figure, plate of pediments : 
 but this being productive of a confiderable deformity; it will always be better, 
 whenever the whole object is covered with a pediment, to make the profile of the 
 cyma lower than ufual; by which means it may, notwithftanding the increafe 
 occafioned by the difference of its direction, be made of a fize fuitable to the reft 
 
Of PEDIMENTS. 
 
 ioi 
 
 of the cornice. But if the inclined cornice of the pediment be, on each fide, joined 
 to horizontal ones, as is the cafe when the middle pavilion or other projecting parts 
 are flanked with buildings, the only good method of leflening the abovementioned 
 deformity, is to give very little projection to the cyma ; by which means the increafe 
 in its height may be rendered very trifling-* 
 
 The modillions, mutules, dentils, and other ornaments of the inclined cornice, 
 mull always anfwer perpendicularly over thofe of the horizontal cornice, and their 
 fides be always perpendicular to the horizon* 
 
 The ancients judicioufly avoided the introduction of different fized pediments, 
 in the fame compofition. Among the chafte remains of antiquity, I do not recoiled 
 any example, even of two different fizes in the fame afpect. Neither do we find 
 that they ever adorned their niches, doors, or windows with pediments, when the 
 whole front or any confiderable part thereof, was covered with one ; juftly judging 
 that the immenfe difparity, between the principal pediment and thofe that fhould 
 cover the parts, could not but produce a difagreeable oppofition, in the fame 
 manner as a pigmy and a giant, expofed to view at the fame time ; are both made 
 ridiculous by a comparifon. 
 
 These cautious proceedings of the ancient artifts, are good leflbns to the 
 moderns ; which they would do well to have in memory, in all forts of compofi- 
 tions. For, wherever there is a confiderable difference of dimenfion, in objects of 
 the fame figure, both will equally fuffer by it : the largeft will appear infupportably 
 heavy ; the fmalleft ridiculoufly trilling : and wherever the difference of dimenfion 
 is inconfiderable, it will always ftrike the beholder as the effect of inaccuracy in 
 the workmen, or of inattention in the contriver : as may be verified by inflection 
 of the arches in the bafement ftory of the Horfe Guards towards St. James's Park. 
 
 The proportion of pediments depends upon their fize : for the fame propor- 
 tions will not fucceed in all cafes. When the bafe of the pediment is fhort, its 
 height muft be increafed, and when long it muft be diminifhed. For, if a fmall 
 pediment be made low, the inclined cornice, which is always of the fame height, 
 whatever may be the dimenfion of the pediment, will leave little or no fpace for 
 the tympan; confequently little or no plain repofe, between the horizontal and 
 inclined cornices. And if a large pediment be made high, it will have too lofty a 
 tympan, and the whole compofition will appear ftraggling, and too heavy for that 
 which is to fupport it. The bell proportion for the height, is from one fifth to 
 one quarter of the bafe, according to the extent of the pediment, and the character 
 of the body it ferves to cover. 
 
 The face of the tympan, is always placed on a line perpendicular with the 
 face of the frize; and, when large, may be adorned with fculpture, reprefenting 
 the arms or cypher of the owner ; trophies of various kinds, fuited to the nature of 
 the ftru&ure; or bas-reliefs, either reprefenting allegorical or hiltorical fubjects: 
 but when fmall, it is much better left plain. 
 
 Vitruvius determines the height of the acroters, by the height of the tympan ; 
 and Scamozzi, by the projection of the cornice; giving to the dye as much height 
 
 C c c as 
 
I 02 
 
 Of BALUSTRADES. 
 
 as the cornice has projection. But neither of thefe methods are well founded ; for, 
 when the building is terminated by a baluftrade, the pedeflals of the baluftrade ferve 
 for the fide acroters, and that at the fummit muft be fuited to them. But when 
 there is no baluftrade, the acroters muft always be of a fufficient height, whatever 
 that height may be ; to cxpofe to view the whole ftatue, or vafe, or other ornaments 
 placed upon them, from the proper point of fight for the building. 
 
 Of BALUSTRADES. 
 
 BALUSTRADES are fometimes of real ufe in building, and at other times they 
 are merely ornamental. Such as are intended for ufe ; as when they are 
 employed on fteps or ftairs, before windows, or to enclofe terraffes, or other 
 elevated places of refort ; muft always be nearly of the fame height : never exceeding 
 three feet and a half, nor ever being lefs than three. That fo a perfon of an ordinary 
 fize may, with eafe, lean over them, without being in danger of (falling. But thofe 
 that are principally defigned for ornament, as when they finifh a building ; or even 
 for ufe and ornament, as when they enclofe the paftage over a large bridge ; fhould 
 be proportioned to the architecture they accompany : and their height ought never 
 to exceed four fifths of the height of the entablature on which they are placed ; nor 
 fhould it ever be lefs than two thirds thereof, without counting the zocholo, or 
 plinth : the height of which, muft be fufficient to leave the -whole baluftrade expofed 
 to view, from the point of fight for the building. Palladio has in fome of his works, 
 made the height of the baluftrade equal to that of the whole entablature ; and Inigo 
 Jones has followed his example in many of his buildings ; particularly at the Ban- 
 quetting Houfe : where befides this extraordinary loftinefs, it is raifed on a very 
 high plinth. I do not think, either of thefe great artifts, are to be imitated in this 
 practice, as it renders the baluftrade much too predominant, and very prejudicial 
 to the effect: of other parts in the compofition ; particularly of the entablature to 
 which it is contiguous. 
 
 There are various figures of balufters ; the moft regular of which are deli- 
 neated in the annexed plate. The handfomeft are the three in the firft row : their 
 profiles and dimenfions are all different. The fimpleft of them, may ferve to finifh 
 a Tufcan order ; and the others may be employed in the Doric, Ionic, Compofite, 
 or Corinthian orders ; according to their degrees of richnefs. 
 
 The belt proportion for baluftrades of this kind, is to divide the whole given 
 height into thirteen equal parts ; and to make the height of the balufter eight of 
 thofe parts, the height of the bafe three, and that of the cornice, or rail, two. Or, 
 if it fhould be required to make the balufter lefs, the height may be divided into four- 
 teen parts, giving pight of thefe to the balufter, four to the bafe, and two to the rail : 
 one of the parts may be called a module, and, being divided into nine minutes, 
 ferve to determine the dimenfions of, the particular members; as in the annexed 
 defigns. 
 
 The 
 
 1 
 
Of BALUSTRADES. 
 
 103 
 
 The other balufters exhibited in the fame plate, are likewife perfect in their 
 kinds, and collected from the works of Palladio, or other great matters. The 
 double-bellied ones being the lighteft, are therefore propereft to accompany win- 
 dows, or other compofitions of which the parts are fmall, and the profiles delicate. 
 The bafe and rail of thefe balufters may be of the fame profile, as for the fingle- 
 bellied ones ; but they muft not be quite fo large. Two ninths of the balufter will 
 be a proper height for the rail, and three for the bafe. The proportions of the 
 balufters may eafily be gathered from the defigns, where they are marked in figures : 
 the whole height of each being divided into fuch a number of parts, as is moft 
 convenient for the determination of the inferior divifions ; one of thefe parts is the 
 module : and is divided into nine minutes. 
 
 In baluftrades, the diftance between two balufters fhould not exceed half the 
 diameter of the balufter, meafured in its thickeft part ; nor be lefs than one third 
 of it. The pedeftals that fupport the rail, fhould be at a reafonablc diftance from 
 each other : for, if they be too frequent, the baluftrade will have a heavy appear- 
 ance ; and if they be far afunder, it will be weak. The moft eligible diftance 
 between them is, when room is left in each interval, for eight or nine whole 
 balufters, befides the two half ones engaged in the flanks of the pedeftals. But as 
 the difpofition of the pedeftals depends on the lituation of the piers, pilafters, or 
 columns in the front ; it being always deemed neceffary to place a pcdeftal dircftly 
 over the middle of each of thefe; it frequently happens, that the intervals are 
 fufficient to contain fixteen or eighteen balufters. In this cafe, each range may be 
 divided into two, or, which is better, three intervals; by placing a dye, or two 
 dyes, in the range ; each, flanked with two half balufters. The breadth of thefe 
 dyes may be from two thirds to three quarters of the breadth of thole of the prin- 
 cipal pedeftals. It will be beft to continue the rail and bafe over and under them 
 in a ftraight line, without breaks; for frequent breaks of any kind, tending to 
 complicate without neceffity, are defefts ; and moft fo, when of different dimenfions ; 
 becaufe they then complicate more, and ferve to render the confufion greater. 
 
 The breadth of the principal pedeftals, when placed on columns, or pilafters, 
 is regulated by them ; the dye never being made broader than the top of the {haft, 
 nor ever much narrower : and when there are neither columns, nor pilafters, in the 
 compofition, the dye fhould never be much broader than its height, and very feldom 
 narrower : on the contrary, it is often judicious to flank the principal pedeftals on 
 each fide with half dyes, particularly where the ranges are long, and divided in the 
 manner abovementioned, as well to mark, and give confequence to thefe pedeftals, 
 as to fupport the ends of the rails ; and give both apparent and real folidity. In 
 fuch cafe, thefe principal pedeftals muft break forward more or lefs, as the nature 
 of the defign may require, and the bafe and rail muft profile round them. 
 
 On ftairs, or other inclined planes, the fame proportions are to be obferved 
 as on horizontal ones. It is indeed fometimes cuftomary, to make the mouldings 
 of the balufters follow the inclination of the plane : but this is difficult to execute, 
 and when done, not very handfome ; fo that it will be better to keep them always 
 horizontal, and fhape the abacus and plinth in the form of wedges ; as in figure 
 A B, plate of balufters : making their height, at the axis of the balufter, the fame 
 
 D cl d as 
 
104 
 
 Of BALUSTRADES. 
 
 as ufual. The diftance between two balufters on inclined planes, muft not be quite 
 fo much as when they are in a horizontal fituation ; becaufe the thickeft parts do 
 not then come on the fame level. Le Clerc thinks it beft to finifh the inclined 
 baluftrades of flairs, or fteps, with horizontal pedeftals, placed on the floor, or 
 pavement, to which they defcend. The method of joining the horizontal mouldings 
 of thefe to the inclined ones of the rail and bafe of the baluftrade, is expreffed in 
 figure A of the annexed plate. 
 
 As the intention of baluftrades is properly to enclofe terraffes, and other 
 heights to which men refort, in order to prevent accidents ; it is an impropriety, 
 as DAviler obferves, to place them on the inclined cornices of pediments ; as at 
 Sta. Sufanna, and Sta. Maria de la Vittoria, near Dioclefian's baths at Rome ; or in 
 any other places, where it is not apparently, at leaft, practicable for men to walk. 
 
 Wherever baluftrades are ufed in interior decorations, as on flairs, or to 
 enclofe altars, thrones, tribunals, alcoves, buffets, or mufick galleries in publick 
 affcmbly-rooms ; or when, in gardens, they enclofe bafons of water, fountains, or 
 any other decorations, the forms of the balufters may be varied ; and enriched with 
 ornaments properly adapted to the place they ferve to fecure and adorn. 
 
 When flatues are placed upon a baluftrade, their height fhould not exceed 
 one quarter of the column and entablature, on which the baluftrade ftands. Their 
 attitudes muft be upright; or, if anything, bending a little forwards, but never 
 inclined to either fide. Their legs muft be clofe to each other ; and the draperies 
 clofe to their bodies : for whenever they fland ftradling, with bodies tortured into 
 a variety of bends, and draperies waving in the wind, as thofe placed on the colo- 
 nades of St. Peter's, they have a moft difagreeable effect ; efpecially at a diftance : 
 from whence they appear like lumps of unformed materials, ready to drop upon 
 the heads of paffengers. The three figures placed on the pediment of Lord Spencer's 
 Houfe in the Green Park, which were executed by the late ingenious Mr. Spang, 
 are well compofed for the purpofe. The height of vafes placed upon baluftrades, 
 fhould not exceed two thirds of the height given to flatues. 
 
 Some there are, who think flatues of the human figure, employed to decorate 
 buildings, fhould never exceed the real human fize; alledging that they are the 
 fcales by which we judge of grandeur, and that therefore any increafe of dimenfion 
 in them, muft naturally leffen the grandeur of appearance, in the whole ftructure. 
 
 For my own part, I cannot be of their opinion ; being perfuaded, that few, 
 if any, judge by fuch far-fetched comparifons, and that no violent impreffions can 
 be made upon the mind, by combinations which are too complicated to be inftan- 
 taneous : it is indeed true, that flatues of an enormous fize, make the architecture 
 which they accompany, appear trifling; but it is as true, that diminutive ones make 
 it appear clumfy. Yet neither of thefe effects are owing to the forms, but entirely 
 to the dimenfions of the objects ; for it is very certain, that if inftead of flatues, flower 
 pots, bomb fhells, flaming altars, or any other things of a difproportionate fize 
 were employed, they would produce the very fame effect, though they were ever 
 fo unlike either the human figure, or any other animal being whatever. It will 
 therefore be proper on all occafions, where flatues are employed in decorations of 
 
 architecture, 
 
 4 
 
Of GATES, DOORS, and PIERS. 105 
 
 architecture, to obferve the proportion above eftablifhed, which is built upon the 
 practice of the greateft architects of preceding ages, whofe aim it conftantly Was, 
 to give to each object; its due confequence in the compofition, without detriment to 
 the reft ; that fo all might equally contribute, to produce the general wifhed for 
 effea. 
 
 Others there are, who totally reject; the practice of placing ftatues on the 
 outfides of buildings, founding their doftrine, probably, upon a remark which I 
 have fomcwhere met with in a French author; importing, that neither men, nor 
 even angels, or demi-gods, could ftand in all weathers, upon the tops of houfes 
 and churches. 
 
 The obfervation is wife, no doubt ; yet, as a piece of marble or ftone is not 
 likely to be miftaken for a live demi-god, and as ftatues, when properly introduced, 
 are by far the moft graceful terminations of a compofition ; one of the moft abundant 
 fources of varied entertainment ; and amongft the richeft, moft durable, and elegant 
 ornaments of a ftructure ; it may be hoped they will ftill continue to be tolerated. 
 
 In interior decorations, it is fometimes cuftomary to employ inftead of baluf- 
 ters, certain ornaments, called Frets, or Guillochis. I have in the plate of balufters, 
 given fome defigns of fuch, for the ufe of thofe who incline to employ them, and 
 many others may be found in le Pautres, and other ornamental publications. But it 
 will be advifable to ufe them fparingly; for rcprefenting leaves, ribbands, and 
 flowers, they do not carry with them any idea of ftrength, and appear therefore 
 not calculated for a fence or anything to lean upon. 
 
 Of GATES, DOORS, and PIERS. 
 
 THERE are two kinds of entrances ; doors, and gates. The former ferye only 
 for the paffage of perfons on foot, but the latter are likewife contrived to 
 admit horfemen and carriages. Doors are ufed as entrances to churches, 
 and other public buildings, to common dwelling-houfcs, and as communications 
 between the different rooms of apartments. Gates fervc as inlets to cities, fortreffes, 
 parks, gardens, palaces, and all places to which there is a frequent refort of carria- 
 ges. 'The apertures of gates being always wide, they are generally made in the 
 form of arches, that figure being the ftrongeft : but doors, which are ufually of 
 fmaller dimenfions, are commonly of a parallelogram figure, and clofed horizontally. 
 The ancients indeed, fometimes made their doors, and even their windows, narrower 
 at the top than at the bottom : in the temple of Vefta at Tivoli, there are ex- 
 ' amples of both ; and Vitruvius, in the fixth chapter of his fourth book, lays down 
 rules for the formation of Doric, Ionic, and Attic doors, by which the apertures 
 of all, are made confiderably narrower at the top, than at the bottom. This oddity 
 has been very little prafticed by the modem artifts. Scamozzi difapproves of it ; 
 fo do feveral other writers : and it is a matter of furprife, that a perfon of fuch 
 refined tafte, as the Earl of Burlington, fhould have introduced a couple of thefe 
 ill-formed doors, in the Cortik of his houfe in Piccadilly. 
 
 E c e 
 
 It 
 
io6 Of GATES, DOORS, and PIERS. 
 
 It mud however be allowed that they, like fome other uncouth things, have 
 one valuable property ; they fhut themfeives : which in a country, where neither 
 man nor woman takes thought, or trouble, about fhutting doors after them, deferves 
 its praife ; and was, perhaps, the original caufe of their introduction among the 
 ancients. 
 
 The general proportion for the apertures, both of gates and doors, whether 
 arched or quadrangular, is, that the height be about double their breadth, or a 
 trifle more. Neceflity probably, gave birth to this proportion, which habit con- 
 firmed and rendered abfolute. In the primitive huts, the entries were doubtlefs 
 fmall ; perhaps, in imitation of thofe to fwallows nefts, no larger than was fufficient 
 for a man to creep through. For thofe rude buildings being intended merely as 
 retreats in the night, or in times of bad weather, it is natural to fuppofe they made 
 the entrance to them as fmall as poffible, to exclude the air and rain. But when 
 architecture improved, and methods were difcovered of fhutting the door occasionally, 
 they made it of fuch a fize as was neceffary for giving admittance to a tall, bulky 
 man ; without Hooping, or turning afide : that is, they made it about three foot 
 wide, and fix foot high ; or twice as high as broad ; which proportion, being 
 become habitual, was preferred to any other, and obferved, even when the fize of 
 the entrance was confiderably augmented, and other proportions would have been 
 equally convenient. 
 
 We may, I believe, look for the origin of many proportions in the fame 
 fource ; and of forms, in their aptitude to the purpofes they ferve : particularly with 
 relation to fuch objects as were, or are, of real ufe. And the pleafure excited in us 
 at their fight, muft, I am perfuaded, be afcribed, rather to convenience, cuftom, 
 prejudice, or to the habit of connecting other ideas with thefe figures, than to any 
 peculiar charm inherent in them, as fome are difpofed to maintain. 
 
 Thus, when ftruck with a fair female face, bright eyes, a florid complexion, 
 good teeth, well turned limbs, a fmooth unfpotted fkin ; it is not fo much the 
 form or colour, the elegant turn or fmoothnefs of the frame, which affect us ; as 
 the inferences deduced from thefe appearances, of the general ftate of mind ; the 
 bodily health and activity ; the purity and fragrance ; the fenfibility and powers of 
 communicating pleafure, inherent in the beloved object : for if thofe fparkling eyes 
 have borne falfe teftimony ; or thofe limbs, which indicated agility and graceful 
 motion, are found fluggard, heavy, and aukward ; if inftead of purity and fra- 
 grance, their oppofitcs offend the fenfes ; and inftead of fenfibility, dullnefs, or 
 diftafte ; our affection quickly abates, and the fame object which commanded our 
 love, foon excites no other emotion than that of indifference ; perhaps of difguft ; 
 and even averfion. 
 
 And thus with regard to ftructures ; whether confidered in their general form, 
 or feparately in their parts ; whenever the maffes and fub-divifions are few in num- 
 ber ; firmly marked by quick and oppofite tranfitions ; the breadths and widths 
 being predominant ; we are impreffed with ideas of grandeur, majefty, manly 
 ftrength, and decorous gravity. And when the compofition appears more detailed : 
 the changes gradual and lefs contrafted ; the heights predominant ; we are impreffed 
 
 with 
 
Of GATES, DOORS, and PiERS. 
 
 with ideas of elegance, delicacy, lightnefs and gaiety. Exceffes in either of thefe 
 cafes are equally dangerous, and productive of fenfations, though oppofite, yet 
 equally difgufting : a ftep beyond the bounds of grandeur, finks into clumfmefs 
 and ponderofity ; a ftep beyond the limits of elegance, degenerates into weaknefs, 
 triviality and affectation. Perfection confifts in mediums between extremes; and 
 forcible effects are produced by verging towards them : all which, the rules of art 
 tend to point out, and to explain. 
 
 Our Saxon and Norman fore-fathers, ultimate corruptors of the almoft effaced 
 Roman architecture; fufficiently prove, by the remains of their churches, monaftc- 
 ries, and caftles ; to what extent barbarifm may carry deformity, gloom, unwieldy 
 grandeur, and clumfy folidity. And their fucceffors of the thirteenth century, 
 though following a manner infinitely more fcientifick and regular; often carried 
 elegance, lightnefs, and exceffive decoration, far beyond their proper limits : till, 
 in the fifteenth and fixteenth centuries, that manner had its laft polifh among us ; 
 was cleared of its redundancies ; improved in its forms ; Amplified and perfected in 
 its decorations : in fhort, made what it is, in fome of the laft ftruftures of that ftile ; 
 the admiration of all enlightened obfervers. 
 
 Amongst the reftorers of the ancient Roman architecture, the ftile of Palladio 
 is correct and elegant; his general difpofitions are often happy; his outlines dillinct 
 and regular ; his forms graceful : little appears that could with propriety be fpared, 
 nothing feems_ wanting : and all his meafures accord fo well, that no part attracts 
 the attention, in prejudice to any of the reft. 
 
 Scamozzi, in attempting to refine upon the ftile of Palladio, has over-detailed, 
 and rendered his own rather trifling ; fometimes confufed. Vignola's manner, though 
 bolder, and more ftately than that of Palladio ; is yet correct, and curbed within due 
 limits ; particularly in his orders : but in Michael Angelo's, we fee licence, majefty, 
 grandeur, and fierce effect ; extended to bounds, beyond which, it would be very 
 dangerous to foar. 
 
 But whether there be any thing natural, pofitive, convincing and felf amiable, 
 in the proportions of architecture; which, like notes and accord in mufick, feize 
 upon the mind, and neceflarily excite the fame fenfations in all ; or whether they 
 were firft eftablifhed by confent of the ancient artifts, who imitated each other ; 
 and were firft admired, becaufe accompanied with other real, convincing beauties ; 
 fuch as richnefs of materials, brilliancy of colour, fine polifh, or excellence of 
 workmanfhip ; and were after, only preferred through prejudice or habit ; arc 
 queftions which have much occupied the learned. Thofe who wifh to fee the argu- 
 ments for, and againft, thefe refpeilive notions ; are referred to Perrault, Blonde], 
 and other writers upon the fubject. To the plurality of ftudents in the profeffion, 
 it may be fufficient to obferve ; without attempting to determine in favour of either 
 fide ; that both agree in their conclufion : the maintainers of harmonick proportions, 
 proving their fyftem, by the meafures obferved in the molt efteemed buildings of 
 antiquity ; and the fupporters of the oppofite doctrine allowing, that as both artifts 
 and criticks, form their ideas of perfection, upon thefe fame buildings of antiquity ; 
 there cannot be a more infallible way of pleafing, than by imitating that, which is 
 fo univerfally approved. 
 
 Fff 
 
 It 
 
io8 Of GATES, DOORS, and PIERS. 
 
 It muft however be obferved, that founds operate very differently from vifible 
 objefts ; the former of which affecl: all, and always in the fame manner. The opera- 
 tion being merely mechanical, the fame fort of vibration, produces at all times the 
 fame effeft ; as equal ftrokes upon a bell, produce the fame founds. But vifible 
 objefts aft differently. Their effecl is not alone produced, by the image on the 
 organ of fight ; but by a feries of reafoning and affociation of ideas, impreffed, and 
 guiding the mind in its decifion. Hence it is that the fame objecf pleafes one, and 
 is difliked by another; or delights to-day, is feen with indifference, or difguft, 
 to-morrow. For if the object feen, had alone the power of affecling ; as is the cafe 
 with founds ; it muft affeft all men alike, and at all times in the fame manner, 
 which by long and repeated experience, we know is not the cafe. 
 
 One certain fource of general approbation, which admits of no difpute, nor is 
 fubjecl: to any exceptions, is, a ftrift conformity of character, between the object and 
 its application ; between the whole, and the parts of which that whole is compofed ; 
 the leaft difcord between thefe, immediately feizes upon the mind, and excites 
 difguft, contempt, or ridicule ; in proportion as the deviations appear greater oi- 
 lers ; more unufual, or more unnatural. And it is farther to be obferved, that the 
 fame proportions, the fame objects and combinations, which fatisfy, even excite 
 admiration in one cafe ; or upon one occafion ; may excite diflike in others, if 
 erroneoufly applied ; of which, there cannot be a ftronger illuftration than the human 
 frame; male, and female; fmce almoft every quality which conftitutes perfection in 
 one, becomes by being applied to the other, a ftriking blemifh ; either of a difguft- 
 ing, or ridiculous nature. 
 
 The ufual ornaments of gates ; confift of columns, pilafters, entablatures, 
 pediments, rufticks of various forts, impofts, archivolts, confoles, mafks, &c. &c. 
 and the common method of adorning doors ; is, with an architrave furrounding 
 the fides and top of the aperture ; on which are placed a regular frize and cornice. 
 Sometimes too the cornice is fupported by a couple of confoles, placed one on each 
 fide of the door, and fometimes, befides an architrave, the aperture is adorned with 
 columns, pilafters, caryatides, or terms, fupporting a regular entablature, with a 
 pediment, or with fome other termination either of architecture or fculpture. In 
 the two annexed plates are given various defigns of gates and doors. 
 
 Figure i, in the plate of doors, is a ruftic door, compofed by Vignola; in 
 which the aperture occupies two thirds of the whole height, and one half of the 
 whole breadth ; the figure thereof being a double fquare. The ruftics may be either 
 fmooth or hatched, frofted or vermiculated, but their outline muft be iharp, and 
 their joints muft form a reftangle. Each joint may be in breadth, one third, or 
 two fevenths, of the vertical furface of a ruftic. The joints of the Claveaux or arch- 
 ftones, muft be drawn towards the fummit of an equilateral triangle, whofe bafe is 
 the top of the aperture. The architrave furrounding the aperture, may be compofed 
 either of a large oge and fillet, or of a plat-band, conge and fillet : its whole breadth 
 muft be one tenth of the breadth of the aperture, the remaining part of each pier 
 being left for the ruftics. The entablature is Tufcan : the cornice thereof is to be 
 one fifteenth of the whole height of the door ; and what remains below it, being 
 divided into twenty-one equal parts, the two uppermoft of them will be for the frize 
 
 and 
 
Of GATES, DOORS, and PIERS. 109 
 
 and architrave, and the remaining nineteen for the ruftics and plinth at the foot of 
 the door. Fig. 2, is another very beautiful compofition of the fame great mailer 
 executed by him at the palace of Caprarola, in the Ecclefiaftical State; and copied 
 by Imgo Jones in the hofpital at Greenwich: a circumftance which pleads ftronffly 
 in Us favour, though I cannot fay but our Englifh archiled, has altered the propor- 
 tions or the original, much for the worfe. The aperture is in the form of an arch 
 and occupies fomewhat more than two thirds of the whole height : it is adorned 
 with two rufhcated Doric pilafters, and a regular entablature. The height of the 
 pilafters is fixteen modules ; that of the entablature four. The width of the aperture 
 is leven modules ; its height fourteen : and the breadth of each pier is three modules 
 Ifig. 3, is hkewife a defign of Vignola's. It is of the Corinthian order, and executed 
 in the LanceUana at Rome. The height of the aperture is equal to double its width 
 and the whole ornament or entablature at the top, is equal to one third of the 
 height oi the aperture. The breadth of the architrave is one fifth of the width of 
 the aperture; and the pilafters which fupport the confoles, are half as broad as the 
 architrave. The whole is well imagined, but rather heavy ; and it would fucceed 
 better it the architrave were reduced to one fixth of the aperture, the whole enta- 
 blature being proportionably diminifhed. The pilafters may remain of the breadth 
 they now are, which is not too confiderable. Fig. 4, is a difpofition of Michael 
 Angelo s. The windows of the Capitol are of this kind ; and Sir Chriftopher Wren 
 has executed doors of this fort, under the beautiful femi-circular porches in the 
 hanks of St. Paul's Cathedral. The aperture of this defign may be a double fquare • 
 the architrave one fixth of the width of the aperture, and the whole entablature 
 one quarter of its height. The front of the pilafters or columns, on each fide, 
 mult be on a line with the lower fafcia of the architrave; and their breadth muft 
 be a iemi-diameter. Fig. 5 , is imitated from a defign of Philibert de l'Orme. It 
 may lerve either for a gate or outward door: by obferving, in the former of thefe 
 caies, to raife the columns on plinths : and, in the latter, befides plinths, to place 
 them on fteps, as all outfide doors ought to be; both becaufe the lower apartments 
 ...OUid never be on a level with the ground, and becaufe this elevation will fhew the 
 door, or indeed any other compofition, to more advantage. The aperture may be, 
 in height, twice its width ; the piers may be a little more than half that width, and 
 the columne muft occupy half the breadth of the pier : their height may be eight 
 diameters, or fomewhat more; the architrave and cornice muft bear the ufual 
 proportion to the columns : the frize is omitted. The archivolt is in breadth, a 
 femi-diameter of the column ; and its whole curve being divided into thirteen equal 
 parts, there will be room for feven Claveaux, and fix intervals. The ftiafts of the 
 column from the top of the impoft downwards, if divided into eight equal parts, 
 will afford room for four intervals, and four ruftic cindures ; whereof that which 
 levels with the impoft may be fquare, as in De l'Orme's defign ; the reft of them 
 being made either cylindrical or fquare, at pleafure. Fig. 6, is a door in the faloon 
 of the Farnefe Palace at Rome, defigned by Vignola. The aperture forms a double 
 fquare ; and the entablature is equal to three elevenths of the aperture's height, the 
 architrave being one of thefe elevenths ; the whole ornament on the fides, confifting 
 of the architrave and pilafters, is equal to two fevenths of the width of the aperture. 
 The cornice is Compofite, enriched both with mutules and dentils ; and the frize 
 is m the form of a feftoon of laurel. Fig. 7, is copied from a door at Florence, 
 faid to be a defign of Cigoli's. The height of the aperture is a trifle more than 
 twice its width ; it is arched. The impoft is equal to half a diameter ; the columns 
 
 G g g are 
 
110 
 
 Of GATES, DOORS, and PIERS. 
 
 are Ionic, fomewhat above nine diameters high ; and their {hafts are garnifhed, each 
 with five ruftic cincf ures. The entablature is lefs than one quarter of the column ; 
 and the length of the tablet, in which there is an infeription, is equal to the width 
 of the aperture. 
 
 Fig. 8, is a compofition of Inigo Jones. The aperture may be a double 
 fquare ; the architrave may be from one fixth to one feventh of the width of the 
 aperture, and the top of it muft level with the upper part of the aftragal of the 
 columns. The columns are Corinthian, their height is ten diameters ; and they 
 muft be placed at a fufficient diftance from the architrave, to leave room for the 
 projection of their bafes. The entablature may be two ninths, or one fifth, of the 
 column, according to the charafter of the building in which the door is employed : 
 and the height of the pediment may be one quarter of its bafe or fomewhat lefs. 
 
 Fig. 9, is a defign of Serlio's. The aperture may be either twice as high as 
 broad, or a trifle lefs. The diameter of the columns may be equal to one quarter 
 of the width of the aperture, and their height may be from eight diameters, to eight 
 and a half. The entablature muft be fomewhat lefs than one quarter of the height 
 of the columns ; and the height of the pediment may be one quarter of its bafe, or a 
 trifle lefs if required. 
 
 From thefe defigns and defcriptions, the manner of compofing doors may 
 eafily be collected : and every man may invent a variety of other defigns, fuitable 
 to the occafions on which they fhall be wanted. Yet fuch as are not endued with 
 the talent of invention, will do well to copy thefe ; which are all very excellent in 
 their kind ; and for more variety, they may recur to the defigns of windows con- 
 tained in this work, which will, moft of them, anfwer equally well for doors. 
 
 In the plate of gates and piers, fig. l , is a pier, of which the diameter may be 
 one quarter of its height, exclufive of the plinth and vafe placed upon it ; the height 
 of both which may be equal to one diameter of the pier. The ruftics may either 
 be plain, chipped, frofted, or vermiculated ; and the height of each courfe be one 
 eleventh part of the height of the pier, counting to the top of the entablature ; the 
 entablature two elevenths ; and the bafe of the pier one eleventh part : or if that 
 mould not be thought fufficient, one of the ruftick courfes may be left out, and the 
 bafe be made two elevenths inftead of one. Fig. 2, is a gate, imitated from M. Angelo 
 Buonaroti's defign for Cardinal Sermonetti. The height of the aperture is fomewhat 
 more than twice its width ; which width, occupies one third of the breadth of the 
 whole compofition. The order is Composite ; and the height of the entablature is 
 equal to one quarter of the height of the column. A break is made in it, over each 
 column : but, unlefs the columns projeel; confiderably, it will be as well to Carry the 
 entablature on in a flraight line. The dimenfions of the particular parts may be 
 meafured on the defign. Fig. 3, is a defign of piers executed at Goodwood, in 
 Suffex. The diameter is one quarter of the height, exclufive of the finifhing, which 
 is equal to one diameter; and the height of the pier, from the top of the entabla- 
 ture downwards, being divided into eleven parts and a half, one of them is given to 
 the bafe, one to each courfe of ruftics, and one and a half to the aftragal, frize, and 
 cornice. On many occafions however it may be proper to augment the height of 
 the bafe, by omitting one of the ruftick courfes, and making it two parts inftead of 
 
 one. 
 
Of GATES, DOORS, and PIERS. 
 
 in 
 
 one. Fig. 4 is a compofition of the late Earl of Burlington's, which has been 
 executed at his Lordflnp's Villa, near Chifwick, and likewife with fome little differ- 
 ence at Bedford Houfe, m Bloomfbury Square. Fig. 5 , is an invention of mine, 
 which has been feveral times executed; and fig. 6, is one of Inigo Jones's; which 
 kind of pier he has executed at Aimfbury, in Wiltffiire, the feat of his Grace the 
 Duke of (^ueenlbury. 
 
 _ Among the defigns at the end of this work, there are various other compe- 
 titions for gates ; and any of the arches, either with, or without pedeftals, of which 
 1 have given defigns m treating of arcades, may likewife be employed as gates- 
 ob erving however where the piers are weak, to fortify them; and make them 
 at feaft equal to half the width of the aperture. 
 
 The firft consideration, both in gates and doors, is the fize of the aperture- in 
 fixing the dimenfions of which, regard muft be had to the bulk of the bodies that 
 are to pafs through. For this reafon, infide doors, however fmall the buildin- 
 may be, in which they are ufed, mould never be narrower than two foot nine 
 inches ; nor need they ever, in fmall private houfes, exceed three foot fix inches 
 m width, which is more than fufficient to admit the bulkieft perfon, and enough 
 tor the paffage of two moderate ones. Their height ffiould at the very leaft be 
 fix foot nine inches, or feven foot; elfe a tall man with a hat, or a lady in feathers 
 cannot pafs without ftoopmg. In palaces, or great men's houfes, to which much 
 company reforts, and all the doors of the flate apartments are frequently thrown 
 open, they are made much larger than above mentioned ; often four, five or fix 
 toot wide, with folding doors, which fhut back in the thicknefs of the party wall 
 and leave a free paffage for the company from one room to another. 
 
 ; Doors of entrance to private houfes, fliould not be lefs than three foot fix 
 inches wide, nor more than fix foot; but to churches, palaces, and other publick 
 itructures, where there is a conflant ingrefs and egrefs of people, and frequently 
 great crouds the apertures muft be larger; and their width, cannot be lefs than 
 iix teet, nor fhould it exceed ten or twelve. 
 
 The fmalleft width that can be given to the aperture of a gate is nine foot • 
 which is but juft fufficient for the free paffage of coaches : but if waggons and loaded 
 carts are hkewife to pafs, it muft not be narrower than ten or eleven foot. And 
 gates of cities, or other entrances where carriages are liable to meet, fhould not be 
 narrower than eighteen or twenty foot. The fame widths as are abovementioned, 
 muit likewile be given to the intervals between piers, which equally ferve as en- 
 trances, and anfwer all the purpofes of gates. 
 
 In fettling the dimenfions of the apertures of doors, regard muft be had to 
 the architecture, with which the door is furrounded. If it be placed in the inter- 
 colummation of an order, the height of the aperture fliould never exceed three 
 quarters of the fpace between the pavement and the architrave of the order • 
 otherwife there cannot be room for the ornaments of the door. Nor fhould it ever 
 be much lefs than two thirds of that fpace ; for then there will be room fufficient 
 to introduce both an entablature and a pediment, without crouding: whereas if 
 it be lefs, it will appear trifling, and the intercolumniation will not be fufficiently 
 
 H h h filled. 
 
II2 Of GATES, DOORS, and PIERS. 
 
 filled. The apertures of doors, placed in arches, are regulated by the imports ; 
 the top of the cornice being generally made to level with the top of the import. 
 And when doors are placed in the fame line with windows, the top of the aperture 
 mould level with the tops of the apertures of the windows ; or if that be not practi- 
 cable, without making the door much larger than is neceffary, the aperture may 
 be lower than thofe of the windows, and the tops of all the cornices made on the 
 fame level. 
 
 With regard to the fituation of the principal entrance, Palladio obferves that 
 it fhould be fo placed, as to admit of an eafy communication with every part of 
 the building. Scamozzi compares it to the mouth of an animal ; and, as nature, 
 fays he, has placed the one in the middle of the face, fo the architeft ought to 
 place the other in the middle of the front of the edifice; that being, the moft 
 noble fituation ; the moft majeftic, and convenient. 
 
 In feveral of the palaces at Rome, as thofe of the Pamfilia in the Corfo, and 
 of the Brachiano at Santi Apoftoli, there are two principal entrances in the fame 
 afpeft : but this, in general, ought to be avoided ; as it leaves ftrangers in doubt 
 where to feek for the ftate apartments, which fhould always be contiguous to the 
 principal entrance. In interior difpofitions, the doors of communication muft 
 be fituated, as much as poffible, in a line ; the advantages of which are, that it 
 contributes towards the regularity of the decoration, facilitates and fhortens the 
 paffage through the apartments, and in fummer, or on publick occafions, when the 
 doors are fet open, it produces a freer circulation of air ; and likewife gives a much 
 more fplendid appearance to the apartments, by expofing to view at once, the 
 whole feries of rooms ; which is more particularly {hiking, when the apartments 
 arc illuminated, as on occafion of balls, mafquerades, routs, or other rejoicings. 
 There fhould, if poffible, be a window at each end of the building, direftly facing 
 the line of the doors of communication ; that fo the view may be more extenfive, 
 and take in at once, not only all the rooms, but likewife parts of the gardens, or 
 other profpects furrounding the building: and when ever this is not prafticable, 
 it will do well to place mirrours at each end of the apartment, or to counterfeit 
 doors, and fill them with large plates of glafs, or with fafhes and fquares of looking 
 glafs, (as is the cuftom in France;) which by refleftion multiply the rooms, the 
 doors, and other objefts, making an apartment though limited, or fmall, appear 
 very confiderable. 
 
 The door of entrance from halls, veftibules, or antichambers, either to the 
 principal apartment, or to any even of the inferior ones, fhould be in the middle 
 of the room, if poffible, and facing a window : thofe that lead to galleries, or any 
 other long rooms, fhould be in the middle of one of the ends : and, in general, 
 all entrances fhould be fo contrived, as to offer to view, at the firft glance, the moft 
 magnificent, and extenfive profpeft of the place they open into. The doors of 
 communication, from one room to another, of the fame apartment, muft be at 
 leaft two foot diftant from the front walls ; that the tables placed againft the piers, 
 between the windows, or other pieces of furniture put there, may not ftand in the 
 way of thofe who pafs. In bed rooms, care muft be taken to make no doors on 
 the fides of the bed ; unlets it be to communicate with a water clofet, wardrobe, 
 bath, or other conveniency of that kind; as well on account of the draught of 
 
 air, 
 
Of GATES, DOORS, and PIERS. 113 
 
 air, as of the noife communicated through them, or attending their opening and 
 fhutting: both which, are always troublefome, and on fome occafions dangerous. 
 Neither ought doors to be placed near chimneys, for the fame reafons, and as the 
 opening them, would difturb thofe who fit by the fire. 
 
 In our northern climates, the fewer doors a room has, the more it will be 
 comfortably habitable: for as we have much more cold than hot weather, it is 
 very neceffary to make the rooms as clofe as poffible: otherwife they will 'not be 
 fit to live in, the greater! part of the year. Wherefore it will be advifeable, never 
 to make cither more windows or doors, than are abfolutely neceffary : and the feign- 
 ing doors, to correfpond with the real ones, may certainly be omitted on many, 
 or on moft occafions. Here in England, the real and feigned doors of a room, 
 with their ornaments, frequently cover fo great a part of the walls, that there is 
 no place left, for cither pidures or furniture : and one often fees, in houfes built 
 forty or fifty years ago, particularly thofe defigncd by Mr. Kent, or Lord Bur- 
 lington ; a hall, or a falon, large enough to receive a company of fixty or a hundred 
 perfons ; furnifhed with fix or eight chairs, and a couple of tables. 
 
 In compofing doors, regard muft be had, both in their fize and their enrich- 
 ments, to the place they lead to. Thofe that give entrance to palaces, churches, 
 theatres, ftate apartments, or other places of confequence, muft be large, and pro- 
 fufely enriched ; but fuch as open to humbler habitations, may be fmall and fpa- 
 nngly decorated : unlefs, the nature of the building fhould require otherwife. 
 Where feveral doors are in the fame afpeft, as on the infide of a hall, falon, or 
 gallery, they fhould all be of the fame fize and figure ; unlefs there be many, in 
 which cafe the principal ones, provided they Hand in the middle of a fide, or in 
 the middle of the ends of the room, may be larger ; of a different form, and more 
 abundantly adorned than the reft. But, whenever more than two forts are introduced 
 in one room, it always tends to confufe the fpe&ator. 
 
 Gates in their compofition muft be charafteriftick ; exprefs the nature of the 
 place they open to, and by their dimenfions, give fome idea of its extent and im- 
 portance. Gates of cities, or of fortreffes, fhould have an appearance of ftrength 
 and majefty; their parts fhould be large, few in number, and of a bold relief. 
 The fame ought likewife to be obferved in the gates of parks, publick walks, or 
 gardens ; and thefe fucceed better when compofed of ruftick work, and of the 
 maffive orders, than when they are enriched with nice ornaments, or delicate pro- 
 files. But triumphal arches, entrances to palaces, to magnificent villas, town, or 
 country houfes ; may with propriety, be compofed of the more delicate orders ; 
 and be adorned in the higheft degree. 
 
 The gates of parks and gardens are commonly fhut with iron folding grates, 
 cither plain or adorned ; thofe of palaces fhould likewife be fo, or elfe be left en- 
 tirely open all day, as they are in Italy and in France : for the grandeur of the 
 building, together with the domefticks, horfes, and carriages, with which the courts 
 are frequently filled, give a magnificent idea of the proprietor, and ferve to enliven 
 the fcenery. 
 
 I i i 
 
 In 
 
Of GATES, DOORS, and PIERS. 
 
 In London, many of our Noblemen's palaces appear from the ftreet, like 
 prifons, or gloomy convents ; nothing is feen but high black walls ; with one, two, 
 or three ponderous cattle gates : in one of which there is a hole for the conveyance 
 of thofe who afpire to get in, or wifh to creep out. If a coach arrives, the whole 
 gate is indeed opened ; but this is a work of time, and hard labour : the more fo, 
 as the porter exerts his ftrength to fhut it again immediately ; either in difcharge 
 of his duty, or for fome other reafons. Few inhabitants of this city fufpect, and 
 certainly fewer ftrangers ever knew ; that behind an old brick wall in Piccadilly, 
 there is, (notwithstanding its faults,) one of the fineft pieces of architecture in Eu- 
 rope : and many very considerable, fome even magnificent buildings, might be 
 mentioned ; that were never feen by any, but the friends of the families they belong 
 to, or by fuch, as are curious enough to peep into every out-of-the-way place, they 
 happened to find in their way. 
 
 The ancients frequently covered the closures of their doors with plates, and 
 bafTo relievos of bronze. There are fome examples yet remaining of this practice, 
 both at the Pantheon, and at St. John de Lateran ; the doors of which laft building 
 formerly belonged to the temple of Saturn. The doors of St. Peter's of the Vatican 
 are likewife covered with bronze ; and at Florence, thofe of the Baptiftery, fronting 
 the cathedral, adorned with a great number of figures by Lorenzo Ghiberti, are 
 much esteemed. Of thefe we have now in the collection of the Royal Academy, 
 very perfect cafts. But the extraordinary expence, and great weight of fuch doors, 
 have occafioned their being laid afide ; and wood alone is now ufed. The com- 
 monest fort are made of deal, or wainfcot, painted in various manners ; and the 
 better kind of them are of mahogany, or of different forts of rare wood inlaid. 
 
 With regard to their construction, Mr. Ware obferves that ftrength, beauty, 
 and ftraitnefs are to be considered ; all which purpofes are answered by composing 
 them of feveral pannels. The number of thefe mult depend on the fize of the door ; 
 which fhould likewife regulate the thickness both of the pannels and the framing. 
 If the doors be adorned with ornaments of fculpture, as is fometimes ufual in verv 
 rich buildings ; they mult either be funk in or kept very flat, upon the furface, 
 both for the fake of lightness, and to prevent their being broken. The pannels 
 may be either raifed or flat, and surrounded with one or two little plain or enriched 
 mouldings, contained in the thickness of the framing; not projecting beyond it, 
 as is fometimes feen in old buildings. 
 
 Doors that exceed three foot and a half in breadth, are generally compofed 
 of two flaps ; by which means each part is lighter, when open doth not project 
 fo far into the room, and when required, may be made to fold entirely into the 
 thicknefs of the wall : as has been abovementioned. It is to be obferved that all 
 doors fhould open inwards, otherwife in opening the door to give a perfon entrance, 
 it mult open in his face ; and may chance to knock him down. 
 
 Of 
 
( "5 ) 
 
 Of WINDOWS. 
 
 THE firft confiderations with refpecl to windows, are, their number, and 
 their fize; which muft be fuch, as neither to admit more, nor lefs light 
 than is requifite. 
 
 In the determination of this objeft, regard muft be had to the climate, the 
 afpcft, the extent and elevation of the place to be lit, to its deftination, and, in 
 a certain degree, to the thicknefs of the walls in which the windows are made ; as 
 on that circumftance, in fome meafure depends, the greater or lefs quantity of 
 light, admitted through the fame fpace. In hot countries, where the fun is feldom 
 clouded, and where its rays dart more intenfely upon the earth, the light is ftronger 
 than in thofe which are temperate, or cold ; therefore, a fmaller quantity of it 
 will fuffice : and more than fufEcient fiiould not be admitted, as the confequence 
 is the admiffion of heat likewife. The fame is the cafe with a fouthern afpecT, 
 which receives more heat, and confequently more light, than a northern, or even 
 an eaftern or weftern one. A large lofty fpace, requires a greater quantity of 
 lighting than one circumfcribed in its dimenfions ; and art demands, that the 
 quantity introduced, fhould be regulated fo, as to excite gay, cheerful, folcmn, 
 or gloomy fenfations in the mind of the fpeftator; according to the nature and 
 purpofes, for which the ftruflure is intended. 
 
 Wherever funfhine predominates, light muft be admitted and diftributed 
 with caution ; for when there is an excefs, its conflant attendant heat, becomes 
 infufferably incommodious, to the inhabitant. In Italy, and fome other hot 
 countries, although the windows be lefs in general than ours, their apartments 
 cannot be made habitable, but by keeping the window mutters almoft doled, while 
 the fun appears above the horizon. But in regions where gloom and clouds prevail 
 eight months of the year, it will always be right to admit a fufficiency of light for 
 thefe melancholy feafons ; and have recourfe to blinds, or mutters, w henever the 
 appearance of the fun renders it too abundant. 
 
 Palladio, in the xxvth chapter of his firft book obferves, that no certain de- 
 terminate rule can be eftabliflied concerning the height and width of the apertures 
 of windows ; but that to him it appeared proper, in conformity to the doftrine 
 of Vitruvius, 1. 4, c. vi, to divide the fpace between the floor and ceiling, into 
 three parts and a half, and give to the height of the window two of thefe parts, 
 and to its width one of them, lefs one fixth. In another part of the fame chapter, 
 he fays, the windows fhould not be wider than one quarter of the width of the 
 room, nor narrower than one fifth ; and that their height fhould be double their 
 width, more one fixth ; but as in every houfe, fays he, there are large, middling, 
 and fmall rooms ; " And it is yet ncccfiary to keep all the windows on the fame 
 " levels of the fame form, I prefer thofe rooms for determining their meafure, 
 " of which the length is to the width, as five to three : thus, when the width of 
 " the room is eighteen foot, and the length thirty ; I divide the width into -four 
 
 K k k " parts 
 
n6 
 
 Of WINDOWS. 
 
 " parts and a half, giving one of thefe parts to the width of each window ; to its 
 " height two of them, more one fixth ; and make all the other windows on the 
 " fame floor, of the fame dimenfions." 
 
 This laft rule, which neither determines the number of windows, the height 
 of the room, nor the fide on which the light is to be admitted ; is furely too vague, 
 and fubje£l to error : I have fomewhere feen a better rule, but cannot remember 
 where. To the beft of my recollection, it proportions the quantity of light to be 
 thrown in, to the number of fquare feet contained on the plan of the room ; by 
 which method, fuppofing due attention given to the height and depth of the room, 
 fomething more certain may be attained than by that of Palladio. 
 
 In the courfe of my own practice I have generally added the depth and the 
 height of the rooms on the principal floor together, and taken one eighth part 
 thereof, for the width of the window ; a rule, to which there are but few objections ; 
 admitting fomewhat more light than Palladio's, it is, I apprehend, fitter for our 
 climate than his rule would be. 
 
 Here in England, our apartments are feldom made fo lofty as in Italy, thofe 
 of our fmaller dwelling houfes often do not exceed ten foot, and are feldom higher 
 than twelve or fourteen. In fuch, the windows may be from three to four foot 
 wide, and in the rooms on the upper floor double, or fomewhat more than double 
 of that in height : by which means, when the window cill is placed at a proper 
 diftance from the floor, for a grown perfon to lean upon, the aperture will rife to 
 within eighteen inches, or two foot of the ceiling, and leave fufficient fpace above it, 
 for the cornice of the room, and the architrave or mouldings which furround the 
 window. But in more confiderable houfes, where the apartments are large, and 
 run from fixteen to twenty foot high; or fometimes more; the windows fhould 
 never be narrower than four foot ; they often require to be made four and a half, 
 fometimes even five, or five and a half foot wide, and high in proportion. Thefe 
 dimenfions are fufficient for dwelling houfes of any fize in this country, when they 
 are larger, they admit too much of the cold air in winter, and are troublefome to 
 manage ; but churches, banquetting rooms, or other buildings of a publick nature ; 
 may have much larger windows, and proportioned to the architecture, of which 
 fuch ftructures are compofed, the parts whereof are generally large. 
 
 With regard to the beauty of exterior decorations, if an order comprehends 
 two ftories, the apertures of the windows with which it is accompanied, fhould not 
 much exceed three modules in width, but when it contains only one ftory, their 
 width may be four and a half, or even five modules. Windows contained in 
 arches, may have from two fifths to three fevenths of the arch in width ; and their 
 height muft be fuch, that the laft horizontal moulding of their cornice may anfwer 
 to the top of the impoft of the arch : the whole pediment being contained in the 
 circular part. The pediment muft be triangular; for curves above each other, 
 unlefs they be fimilar and parallel, do not fucceed. 
 
 The proportions of the apertures of windows, depend upon their fituation: 
 their width in all the ftories mufl be the fame, but the different heights of the apart- 
 ments, make it necefTary to vary the heights of the windows likewife. 
 
 In 
 
Of WINDOWS. 
 
 117 
 
 In the principal floor, it may be from two and one eighth of the width, to 
 two and one third, according as the rooms have more or lefs elevation ; but in 
 the ground floor, where the apartments are ufually fomewhat lower, the apertures 
 of the windows fhould feldom exceed a double fquare ; and when they are in a 
 rufhck bafement, they are frequently made much lower. The windows of the 
 fecond floor may be, in height, from one and a half of their width, to one and 
 four fifths ; and thofe of atticks or mezzanines, either a perfed fquare, or fome- 
 what lower. The charader of the order in which the windows are employed, and 
 that of the profiles with which they are enriched, muft likewife in fome meafure 
 be confulted, and the apertures be made more or lefs elevated, as the order of the 
 whole decoration, or of the window itfelf, is more or lefs delicate. 
 
 The windows of the principal floor are generally moil enriched. The fimpleft 
 method of adorning them is, with an architrave furrounding the aperture, covered 
 with a fnze and cornice fuited thereto : but, when the aperture is remarkably high 
 with refped to its width, it becomes necefiary to fpread the ornaments on the fides 
 thereof, by flanking the architrave with columns, pilafters, or confoles, in order to 
 give the whole compofition an agreeable proportion. The windows of the ground 
 floor are fometimes left entirely plain, without any ornament whatever; at other 
 times they are furrounded with an architrave, or with rufticks, or have a regular 
 architrave, crowned with its frize and cornice. Thofe of the fecond floor have gene- 
 rally an architrave, carried entirely round the aperture ; and the fame is the method 
 of adorning attick or mezzanin windows : but thefe two laft have leldom or ever 
 either fnze or cornice ; whereas the fecond floor windows, whenever their aperture 
 approaches a double fquare, are often adorned with both. As at the Banqueting- 
 Houfe, and in many other buildings of note. 
 
 The cills of all the windows on the fame floor, fhould be on the fame level; 
 and raifed above the floor, from two foot nine inches, to three foot, at the very 
 moft. When the walls are thick, they fhould be reduced under the apertures of 
 of the windows for the conveniency of looking out : and feats may be contrived to 
 fit thefe recefles, as is the cuftom in many of our modem Englifh houfes. In 
 France, and now too often here, the windows are carried quite down to the floor ; 
 which when the building is furrounded with gardens, or other beautiful profpefts' 
 renders the apartments exceedingly pleafant in fummer, but then they become 
 exceedingly cold in winter. And the iron-work, which in France, and latterly 
 very much here, is placed on the outfide ; by way of fence againft accidents : ought 
 never to have place, where regular architeaure is intended : for all the gilding and 
 flourifhing in the world, can never make it tolerably accordant with the reft of the 
 compofition. 
 
 In regular built houfes, the cills of the windows on the ground floor, fhould 
 be raifed fix foot above the pavement on the outfide of the building; to hinder 
 paflengers from looking into the apartments. But when this cannot be done, 
 without raifing the floor itfelf more than may be necefiary, the lower parts of the 
 windows may be furnifhed with blinds. The tops of the apertures of windows, 
 fhould never, within the apartments, be carried clofe up to the cornice of the room : 
 a fufficient fpace ought always to be left for an architrave, or at leaft two or three 
 
 L 1 1 mouldings 
 
n8 Of WINDOWS. 
 
 mouldings to furround them, without crouding upon the cornice : between which 
 and thefe architraves the laths whereon the curtains fallen are generally placed. 
 
 The interval between the apertures of windows depends, in a great meafure, 
 on their enrichments. The width of the aperture, is the fmallefl diftance that can 
 be between them ; and twice that width, fhould in dwelling houfes, be the larger! ; 
 otherwife the rooms will not be fufficiently lighted, and the building will have 
 rather the appearance of a prifbn, than of a ftruclure calculated for the conveniences, 
 and enjoyments of life. The purpofe for which the building is intended fhould, 
 as has been before obferved, regulate the quantity of light to be introduced : and 
 therefore in dwelling houfes, and all places where comfort and pleafure are the 
 main purpofes, there cannot well be too much: but in facred flruclures, which 
 fhould affecl the mind with awe and with reverence, or in other great works, 
 where grandeur of flyle is aimed at, it fhould be cautioufly and rather fparingly 
 diflributed. 
 
 The windows nearefl to outward angles, mufl be at leafl the width of their 
 aperture diflant from the angle ; and a larger fpace will be flill more feemly, and 
 render the building more folid. In all the ftories of the fame afpecl, the windows 
 muft be placed exaclly one above the other ; and thofe to the left fymmetrize, with 
 thofe to the right, both in fize, fituation, number, and figure. The reafbns for all 
 thefe things are obvious enough, and therefore it is needlefs to mention them. 
 The licentious praclice of intermitting the architrave and frize of an order, in the 
 intervals between the columns or pilafters, to make room for windows and their 
 enrichments, which are carried clofe up to the cornice, can on no account whatever 
 be fuffered in regular architecture ; it being in the higheft degree abfurd to carry 
 the windows above the ceiling ; and great want of judgment in an architect, to inter- 
 mix crouded together, fuch a number of rich complicated parts, as are thofe of 
 the entablature of the order, and the entablatures of the windows. Befides the 
 whole beauty of the order, when fo mutilated, is deftroyed ; its proportions and 
 figure being entirely changed. An interruption of the whole entablature, to make 
 room for a window, and converting it into an import to the archivolt, as we fee 
 done on the flanks of the Manfion Houfe, is a licenfe equally unpardonable. Sir 
 Chriflopher Wren was extremely fond of thefe mutilations ; and every lover of 
 architecture, while he admires the exterior of St. Paul's, mufl owe him fome 
 grudge, for having fo unmercifully mangled many parts of the infide, of that 
 fplendid ftruclure. 
 
 The common fort of builders in this country, are extremely fond of variety in 
 the ornaments of windows, and indeed in every other part of a building ; imagining, 
 probably, that it betrays a barrennefs of invention, to repeat the fame objecl fre- 
 quently. There is a houfe near Berkley Square, with only eleven windows in the 
 whole front, and yet they are of feven different forts. At Ironmonger's Hall in 
 the City, the cafe is the fame ; there being feven or eight forts of windows in the 
 fame afpecl : and the like is to be met with in many other buildings, both in town, 
 and in the country. 
 
 These inventive gentlemen would do well to give their attention to fome pro- 
 feffors of the mechanic arts, who, though exercifing their talents on meaner objecls, 
 
 are 
 
Of WINDOWS. ii 9 
 
 are neverthelefs worthy of their imitation. No taylor thinks of employing feven 
 or eight kinds of buttons on the fame coat : a cutler will not make ten different 
 forts of knives for the fame fet ; and if a cabinet maker be trufted to furnifh a room, 
 he feldom introduces more than one or two forts of chairs. Their practice is 
 founded on experience; the general approbation of mankind is the ftandard they 
 go by. 
 
 We do not difcover, either in the works of antiquity, or thofe of the great 
 modern architects, any traces of this childifh hankering after variety. The fame 
 objea is frequently by them, repeated a hundred times over; and this is one of 
 the caufes of that amazing grandeur, that noble fimplicity, fo much to be ad- 
 mired in their productions. 
 
 This famenefs mull however have its limits: for when carried too far, the 
 imagination of the beholder ftagnates, for want of occupation. In the moft ad- 
 mired works of architecture, we find the fame object, generally continued through- 
 out the fame level : thus one order, and one fort of windows, or niches, generally 
 reign throughout the ftory : but in the other ftories, where the eye, and the ima- 
 gination, neceffarily affume a frefh courfe, the decoration is altered. 
 
 Scamozzi, and fome other eminent architects, both in their doctrine and 
 praftice, are fond of diftinguifhing the middle of every compofition, by an object 
 different from the reft. Thus, in a range of windows, the middle one is generally 
 either Venetian, or in the form of an arch ; though all the reft arc fquare. How 
 this may affect others, I do not well know : but for my own part, I do not like the 
 practice, excepting where it may be abfolutely neceffary. Every one from his own 
 experience muft, I think, have felt a fudden uneafinefs arifing, on finding a ftyle, 
 a ditch, or other impediment of that nature, in his way ; and the mind is equally 
 difturbed, when thus violently and unexpectedly interrupted, in contemplating the 
 parts of a building. 
 
 Sometimes, however, it may be neceffary to increafe the fize, and vary the 
 figures of the windows, either in the center break, or in fome other prominent part 
 of a front ; in order to light a falon, a gallery, or a hall, higher than the reft of the 
 rooms. But then it will always be advifeable to repeat the fame form if fimple, as 
 an arch ; three, five, or more times, according to the extent of the plan, as has 
 been done on the fouth front of Holkham : that fo, the mind may be in fome degree 
 fatiated, before it is conducted to a new object. 
 
 Venetian windows, and Venetian doors too, are on fome occafions neceffary; 
 particularly, in fmall buildings ; to light a hall, a veftibule, or fuch other rooms, as 
 cannot admit of two windows, and yet would not be fufficicntly lit with one. But 
 where they can be avoided, it is belt : for the columns which feparate the large 
 interval, from thofe on the fides, form fuch flender partitions, that, at a diftance, 
 they are fcarcely perceived; and the whole looks like a large irregular breach 
 made in the wall. 
 
 And however advifeable it may be to repeat the fame form, as has above been 
 mentioned, the repetition of thefe Venetian windows, fhould always be avoided. 
 
 M m m In 
 
120 
 
 Of WINDOWS. 
 
 In the north front of Holkham, there are no lefs than feven of them, w hich added 
 to the quantity of trifling breaks, and ups, and downs, in the elevation, keep the 
 fpeftator's eye in a perpetual dance to difcover the outlines : than which, nothing 
 can be more unpleafmg, or deftruftive of effecf. Indeed Mr. Kent, who was the 
 defigner of this building, though we have it publifhed under another name ; was 
 very fond of puzzling his fpectators : witnefs the Horfe Guards, Holkham, the 
 Treafury, and other of his works : which certainly would have added more to his 
 fame, had they been lefs complicated and abundant in variety. 
 
 The fafhes of windows are generally made of wainfcot, or mahogany, and 
 fometimes of copper, or other metals : the London artificers excel in thefe works : 
 they make them very neatly, and though in appearance flight, very ftrong. 1 he 
 fquares of glafs are proportioned to the fize of the windows ; there being commonly 
 three in the width, and four in the height, whatever be the dimenfions of the 
 window: each fafh is compofed of two equal parts, placed one above the other, 
 and either the lowermoft, or both of them, being hung on pullies, and counterpoifed 
 with weights, are moved up or down with great eafe : both the cords and the weights 
 being concealed. Thefe are much neater, and much more convenient, than the 
 French ones ; which are compofed of two vertical divifions, turn on hinges, and 
 are fhut with an apparatus of ironwork always in the way, and weighing almoft a 
 hundred weight. The fhutters are always within the apartments, wherever beauty 
 is aimed at ; thofe on the outfide deftroying the appearance of the front. They 
 are divided into feveral vertical flips, folding behind each ether, for the conveniency 
 of ranging or boxing them when open, in the thicknefs of the wall. Each flip or 
 fold is framed and compofed of feveral pannels, either raifed or flat, furrounded 
 with fmall mouldings contained in the thicknefs of the framing : which, when the 
 profiles in the room are enriched, fliould likewife be fo ; at leaft on the fold that 
 faces the aperture, when the fhutters arc turned back ; the front of which mull 
 ftand flulh with the inner edge of the architrave furrounding the window, all the 
 other folds being ranged behind it. 
 
 In the three annexed plates of windows, I have given a great variety of defigns. 
 Fig. l, in the firft of thefe plates is imitated from the lower windows of St. Peter's, 
 compofed by M. Angelo Buonaroti. The aperture is fomewhat lower than a double 
 fquare in height : the architrave is one feventh of the width of the aperture, which 
 is likewife the breadth of the pilafters : the confoles, both at bottom and top of the 
 window, are, in length, one third of the width of the aperture ; and the whole en- 
 tablature is equal to one quarter the height thereof. Fig. 2, is a compofition of 
 Bartolomeo Amanato, executed in the ground floor of the Mattei Palace at Rome. 
 The whole defign, and particularly the lower part is well compofed: but rather 
 approaching towards the heavy : the parts made fomewhat lefs would fucceed better, 
 as would alfo a pediment inftead of the Hoped covering at top. Fig. 3 and 4, are 
 both of them compofed by Bernardo Buontalenti, and executed in different places. 
 The aperture of this fort of window may be a double fquare, or a trifle more ; the 
 architrave from one fixth to one feventh of the width of the aperture, and the 
 pilafters cither the fame ; or lefs by one third, one quarter, or one fifth, according 
 as the architrave is broader or narrower, there being very few cafes, in which both 
 together, fhould exceed one third of the width of the aperture, at the moll. The 
 height of the whole entablature, fhould not exceed one quarter of the height of 
 
Of WINDOWS. 
 
 121 
 
 the aperture, nor ever be much lower : the confoles may be equal in length to half 
 the width of the aperture at mod, and to one third of it at the leaft. 
 
 In the fecond plate, fig. 1, is a defign of P. Lefcot, abbot of Clagny, executed 
 in the Old Louvre at Paris. The proportions may be the fame, as in the two Lift 
 mentioned ones. Fig. 2, is what we commonly call, in England, a Venetian win- 
 dow. It is an invention of Scamozzi's. The height of the arched aperture, is twice, 
 and one half its width : thofe on the fides, are half the width of that in the middle ; 
 and their height is regulated by the height of the columns. The breadth of the 
 archivolt, is equal to the fuperior diameter of the columns. Fig. 3, is a defign 
 of Palladio's, executed by him in many of his buildings. The aperture is a double 
 fquare, the breadth of the architrave, is one fixth of the width of the aperture ; the 
 frize and cornice together, are double the height of the architrave ; and the breadth 
 of the confoles, is two thirds of the breadth of the architrave. This fort of window 
 fucceeds much better without breaks in the architrave, which only ferve to render 
 it top heavy ; and the confoles when placed on pilafters feem more fupported, and 
 ferve to give a better form 'to the whole, than when they arc only ftuck on the wall : 
 the breaks though frequently introduced by Inigo Jones, and other copycrs or imi- 
 tators of Palladio, are always unnatural ; and can only be tolerated for the fake of 
 variety, or with a view of fpreading a compofition in itfelf too lean elevated. Fig. 4, 
 is likewife a defign of Palladio's, executed at the Chiericato in Vicenza. Its pro-, 
 portions differ very little from the former ; the plat-band that fupports the window 
 is equal to the breadth of the architrave. Fig. 5, is a Venetian window, invented, 
 I believe, by Mr. Campbell. Fig. 6, is a defign of Inigo Jones's, executed at the 
 Banqueting Houfe. I do not know exacfly what proportions he has obferved, having 
 never had an opportunity of meafuring the original : but the aperture may be a 
 double fquare, the architrave one fixth of the aperture's width, and the whole en- 
 tablature one quarter of its height ; the breadth of the confoles may be two thirds 
 of the breadth of the architrave. Fig. 7, is a defign of M. Angelo Buonaroti, 
 executed at the Farnefe Palace in Rome. For the beautiful difpofition rcprefented 
 in fig. 8, we arc indebted to the late Mr. Kent ; and it is executed with fome little 
 difference at the Horfc Guards, in St. James's Park. Its proportions may be col- 
 lected from the defign. Fig. 9, is a defign of Ludovico da Cigoli, and executed 
 in the ground floor of the Ranunchini Palace at Florence. In the third plate of 
 windows, fig. 1, is imitated from a defign of Raphael Sanzio da Urbino, executed 
 in the principal floor of the Pandolfini Palace at Florence. The height of the aper- 
 ture, is a trifle more than twice its width ; the architrave is equal to one feventh of 
 the width of the aperture ; the columns are Ionic, and will fucceed belt if entirely 
 detached ; yet that cannot well be, excepting on a ground floor : their height is 
 nine diameters, their diftance from the architrave of the window is a quarter of a 
 diameter, which is likewife the diftance of the entablature from the top of the fame 
 architrave. The height of the whole entablature, is equal to two ninths of the 
 column ; and the height of the pediment is one quarter of its bale, or a trifle lefs : 
 the pedeftals and baluftrades are in height, one quarter of the column and enta- 
 blature taken together. Fig. 2, is an invention of Andrea Palladio's, executed with 
 fome little difference in the Porto Barbarino Palace at Vicenza. Inigo Jones has 
 very judicioufly introduced the fame defign in the flanks of Greenwich Hofpital, and 
 managed all the parts of it more gracefully than in the original. Fig. 3, is imitated 
 from the windows ki the principal floor of the Bracciano Palace at Rome, defigned 
 
 N n n by 
 
122 
 
 Of NICHES and STATUES. 
 
 by Bernini. Fig. 4, is an invention of Palladio's, and the defign here given is very 
 accurately meafured and copied from the Thieni Palace at Vicenza ; in the principal 
 floor of which it is executed. The height of the aperture is two and one tenth of 
 its width, the columns are Ionic, one quarter engaged in the wall, and nine diame- 
 ters high : the bottoms of the capitals are on a line with the top of the aperture, they 
 have angular volutes, with an aftragal and fillet below the volute ; the bafes arc 
 Tufcan : there are five ruflick dyes on the {haft of each column, which are all of an 
 equal breadth ; the inner fides of them are on a line with the fides of the aperture ; 
 and their projection is equal to that of the plinth of the bafe, which is one fifth of a 
 diameter of the column. The key-ftones are diftributed in the manner rcprefented 
 in the defign ; they incline forwards towards the top, their furface is rough, and 
 hatched irregularly with long chops, as arc likewife the dyes on the columns, their 
 angles alone being left fmooth and with a fharp outline ; which roughnefs, makes 
 an agreeable oppofition to the fmooth finifhing of the other parts. The entablature 
 is Ionic, the architrave compofed of two fafcias only ; the frize is fwelled, and the 
 dentil-band is placed immediately on the frize, without any moulding to fupport 
 it ; a fingularity which Palladio has repeated in others of his defigns, though it has 
 but an indifferent effect. The pedeftals and baluftrade, are a trifle higher than one 
 third of the columns ; the dyes and balufters, are placed immediately on the plat- 
 band that finifhes the bafement : which is not fo well, as if there had been a bafe : 
 but has been done, in order to diminifh the projection. This beautiful window, 
 differs confiderably from the defign given of it in Palladio's book, and is undoubt- 
 edly fuperior to it. Fig. 5, is likewife a defign of Palladio's, copied from the Porti 
 Palace at Vicenza ; and fig. 6, is, I believe, an original invention of Inigo Jones's, 
 which has been executed in many buildings in England. 
 
 I have given in all, nineteen defigns for windows, and for greater variety, 
 the figures 3, 4, 6, 7, 8, 9, in the plate of doors may be employed; they being 
 equally proper either for windows or doors. 
 
 Of NICHES and STATUES. 
 
 ARCHITECTURE, as Daviler obferves, is indebted to fculpture for a great 
 part of its magnificence; and, as the human body is juitly efteemed the 
 moft perfect original, it has been cuftomary, in all times, to enrich differ- 
 ent parts of buildings with reprefentations thereof. Thus the ancients adorned 
 their temples, bafilicas, baths, theatres, and other publick ftructures, with flatues 
 of their deities, philofophers, heroes, orators, and legillators ; and the moderns ftill 
 preferve the fame cuftom ; placing in their churches, palaces, houfes, fquares, 
 gardens, and publick walks, the bufts and flatues of illuftrious perfonages, or bas- 
 reliefs, and groupes, compofed of various figures, reprefenting memorable occur- 
 rences, collected from the hiftories, fables, or traditions of particular times. 
 
 Sometimes thefe ftatues or groupes, are detached ; raifed on pedeftals, and 
 placed contiguous to the walls of buildings ; by the fide of flights of fteps or flairs ; 
 
 at 
 
124 Of NICHES and STATUES. 
 
 The fize of the ftatue depends upon the dimcnfions of the nich : it fhould 
 neither be fo large as to feem rammed into it, as at Santa Maria Majore in Rome ; 
 nor fo fmall as to fecm loft in it, as in the Pantheon ; where the ftatues do not 
 occupy above three quarters of theh eight of the nich, and only one half of its width. 
 Palladio in arched niches, makes the chin of his ftatues on a level with the top of 
 the impoft : fo that the whole head is in the coved part. In the nave of St. Peter's 
 at Rome, the fame proportion has been obferved ; and it has a very good effect. 
 The diftance between the outline of the ftatue, and the fides of the nich, fhould 
 never be lefs than one third of a head, nor more than one half ; whether the nich 
 be fquare or arched : and when it is fquare, the diftance from the top of the head 
 to the foffit of the nich, fhould not exceed the diftance left on the fides. The 
 ftatues are generally railed on a plinth ; the height of which, may be from one third 
 to one hali of a head : and fometimcs, where the niches are very large in propor- 
 tion to the architecture they accompany ; as is the cafe when an order comprehends 
 but one ftory ; the ftatues may be railed on fmall pedeftals ; by which means they 
 may be made lower than ufual, and yet fill the nich fufficiently ; it being to be 
 feared left ftatues of a proper fize to fill fuch large niches, fhould make the columns 
 and entablatures appear trifling. The fame expedient muft alfo be made ufe of, 
 whenever the ftatues in the niches, according to their common proportion, come 
 confiderably larger than thofe placed at the top of the building : A trifling difparity, 
 will not be ealily perceived, on account of the diftance between their refpeftive 
 fituations ; but if it be great, it muft have a very bad effect: and therefore this muft 
 be well attended to, and remedied : either by the abovementioned method, or by 
 entirely omitting ftatues at the top of the building ; leaving the baluftrade either 
 free, or placing thereon vafes, trophies, and other iimilar ornaments. 
 
 Some writers there arc, who give to thefe ornaments the preference at all 
 times ; alledging that it is abfurd to fuppofc horfes and men conftantly ftanding on 
 the roofs, or ftuck up in the niches of a fecond or third ftory, in fituations fhocking 
 and frightful to the imagination. De Cordcmoy advilcs by all means, to avoid 
 placing ftatues too far from the ground ; and Le Clerc is for having nothing but 
 tutelar angels on the tops of houfes. 
 
 To me, there appears fomething ridiculous in this affectation of propriety ; 
 and, I believe, it may in general be eftablifhed ; that, whenever the image is fo 
 different from the original it reprefents, as not to leave the leaft probability of its 
 being ever miftaken for the real object ; this ftrict adherence to propriety, is very 
 fuperfluous. 
 
 The character of the ftatue fhould always correfpond with the character of 
 the architecture with which it is furrounded. Thus, if the order be Doric ; Hercules, 
 Jupiter, Pluto, Neptune, Mars, Efculapius, or any male figures, reprefenting beings 
 of a robuft and grave nature, may be introduced : if Ionic ; then Apollo, Bacchus, 
 Ceres, Minerva, Mercury : and if Corinthian ; Venus and the Graces, Flora, or 
 others of a delicate kind and flender make, may properly have place. 
 
 Niches being defigned as repofitories for ftatues, groups, vafes, or other 
 works of fculpture, muft be contrived to fet off the things they are to contain, to 
 
 the 
 
Of CHIMNEY PIECES. I25 
 
 the beft advantage ; and therefore, no ornaments mould ever be introduced within 
 them, as is fometimes injudicioufly pradifcd : the cove of the nich being either filled 
 with a large fcallop fhell ; or the whole infide, with various kinds of projefting ruf- 
 ticks ; with moulded compartments either raifed or funken ; or compofed of different 
 coloured marbles : for all thefe ferve to confufe the outline of the fhitue or group; 
 It is even wrong to continue an import within the nich ; for even that, is of con- 
 fiderable difadvantage to the figures ; which never appear fo perfecf, as when backed 
 and detached on a plain fmooth furface. An excels of ornaments round the nich 
 fhould hkewife be avoided ; and particularly mafks, bufts, boys, or any reprefenta- 
 tions of the human figure ; all which ferve to divide the attention, and to divert it 
 from the principal objeft. 
 
 The depth of the nich fhould always be fufficient to contain the whole ftatuej 
 or whatever elfe it is to contain ; it being very difagreeable to fee ftatues, or any 
 other weighty objeas, with falfe bearings; and fupported on confoles or other 
 projedions, as is fometimes done : and in the cafe of niches, the fide views become 
 exceedingly uncouth; for in thefe, a leg, an arm, a head, in fhort, thofe parts 
 alone which prc-jett beyond the nich, appear, and look like fo many fragments, 
 ftuck irregularly in the wall. 
 
 Of CHIMNEY PIECES. 
 
 AS the Egyptians, the Greeks, and the Romans, to whom architcaure is fo 
 much indebted in other refpeas, lived in warm climates ; where fires in the 
 apartments were feldom or never neceffary ; they have thrown but few lights 
 on this branch of architeaure. Amongft the antiquities of Italy, I clo not recoiled 
 any remains of chimney pieces. Palladio indeed mentions two ; the one at Baia, 
 and the other near Civita Vechia ; which flood in the middle of the rooms, and 
 confided of columns fupporting architraves, whereon were placed the pyramids or 
 funnels, through which the finoak was conveyed : much after the manner of the 
 fire place in the Rotunda of Ranelagh Gardens. Scamozzi takes notice of three 
 forts of chimney pieces, ufed in Italy in his time. One of thefe he calls the Roman, 
 the aperture of which is furrounded only with a clumfy architrave ; another he calls 
 the ; Venetian, which is likewife adorned with an architrave, upon which are placed 
 a frize and cornice, and on the fides thereof are pilafters with confoles. The third 
 fort he calls a Padiglione. 
 
 This , laft he particularly recommends, where the walls are thin ; it being not 
 hollowed into the wall, as both the other forts are; but compofed of a projeaing 
 entablature, fupported by confoles, terms, or caryatides, on which the pyramid is 
 placed. This fort of chimney piece is ftill very common in Italy, the Dutch are 
 very fond of it, and we find it in many of our old Englifh country homes. The 
 figures 4 and 9 in the annexed plate, are the lower parts of two of them, defigned 
 by Palladio, and executed, the one in the Cafa Trevifan, in the ifland of Murano ; 
 and the other in the Valmarani Palace at Vicenza.. 
 
 P p p 
 
 Neither 
 
126 
 
 Of CHIMNEY PIECES. 
 
 Neither the Italians nor the French, nor indeed any of the continental 
 nations, have ever excelled in compofitions of chimney pieces : I believe we may 
 juftly confider Inigo Jones as the firft who arrived at any great degree of perfection, 
 in this material branch of the art. Others of our Englifh architects, have fince his 
 time, wrought upon his ideas; or furnifhed good inventions of their own: and 
 England, being at prefent poffeffed of many ingenious and very able fculptors, of 
 whom, one chief employment is to execute magnificent chimney pieces, now happily 
 much in vogue ; it may be faid, that in this particular we furpafs all other nations ; 
 not only in point of expencc, but likewife in tafte of defign, and excellence of 
 workmanfhip. Scamozzi mentions a chimney piece, in one of the public buildings 
 at Venice, executed from his defign ; as a moft uncommon piece of magnificence : 
 having coft upwards of a thoufand crowns. In this country, a much larger expence 
 is very frequent ; and many private gentlemens houfes, in moft parts of England ; 
 are furnifhed with feveral chimney pieces, at leaft as valuable. 
 
 The fize of the chimney muft depend upon the dimenfions of the room wherein 
 it is placed. In the fmalleft apartments the width of the aperture is never made 
 lefs than from three foot, to three foot fix inches : in rooms from twenty to twenty- 
 four foot fquare, or of equal fuperficial dimenfions, it may be four foot wide ; in 
 thofe of twenty-five to thirty, from four to four and a half; and in fuch as exceed 
 thefe dimenfions, the aperture may be extended to five, or five foot fix inches : 
 but mould the room be extremely large, (as is frequently the cafe of halls, galleries, 
 and falons,) and one chimney of thefe laft dimenfions, neither afford fufheient heat 
 to warm the room, nor fufficient fpace round it for the company ; it will be much 
 more convenient, and far handfomer ; to have two chimney pieces of a moderate fize, 
 than a fingle one exceedingly large ; all the parts of which, would appear clumfy 
 and difproportioned to the other decorations of the room. 
 
 The chimney fhould always be fituated fb, as to be immediately feen by thofe 
 who enter ; that they may not have the perfons already in the room, who are gene- 
 rally feated about the fire, to fearch for. The middle of the fide partition wall, is 
 the propereft place in halls, falons, and other rooms of paffage ; to which the 
 principal entrances are, commonly, in the middle of the front, or of the back wall : 
 but in drawing rooms, dreffing rooms, and the like, the middle of the back wall is 
 the belt fituation ; the chimney being then fartheft removed from the doors of com- 
 munication. The cafe is the fame with refpect to galleries and libraries, whofe 
 doors of entrance are generally either at one, or at both ends. In bed chambers 
 the chimney is always placed in the middle of one of the fide partition walls ; and 
 in clofets, or other very fmall places, it is, to fave room, fometimcs placed in one 
 corner. 
 
 Whenever two chimnies are introduced in the fame room, they muft be 
 regularly placed, either directly facing each other, if in different walls ; or at equal 
 diftances from the center of the wall, in which they both are placed. The Italians 
 frequently put their chimnies in the front walls, between the windows ; for the 
 benefit of looking out while fitting by the fire : but this muft be avoided ; for by fo 
 doing that fide of the room becomes crouded with ornaments, and the other fides 
 are left too bare; the front walls are much weakened by the funnels; and the 
 
 chimney 
 
Of CHIMNEY PIECES. 
 
 .127 
 
 chimney {hafts at the top of the building, which muft neceffarily be carried higher 
 than the ridges of the roofs, have from their great length, a very difagreeable 
 effect : and are very liable to be blown down. 
 
 In large buildings, where the walls are of a confiderable thicknefs, the funnels 
 are carried up in the thicknefs of the wall ; but in final] ones, this cannot be done : 
 the flues and chimney pieces, muft neceffarily advance forward into the rooms; 
 which, when the break is confiderable, has a very bad effeft ; and therefore, where 
 room can be fpared, it will always be beft, either in fliow or ftate apartments ; to 
 make niches or arched receffes on each fide: and in lodging rooms; prefles or 
 clpfets, either covered with the paper, or finifhed in any manner fuited to the reft of 
 the room. By thefe means, the cornice, or entablature of the room, may be carried 
 round without breaks ; the deling be perfectly regular ; and the chimney piece have 
 no more apparent projection, than may be neceffary, to give to its ornaments their 
 proper relief. 
 
 The proportion of the apertures of chimney pieces,, of a moderate fize, is 
 generally near a fquare : in fmall ones a trifle higher, and in large ones fomewhat 
 lower. Their ornaments confift of architraves, frizes, cornices, columns, pilafters, 
 terms, caryatides, confoles, and all kinds of ornaments of fculpture, reprefenting 
 animal or vegetable productions of nature; likewife vafes, pateras, trophies of 
 various kinds, and inftruments or fymbols of religion, arts, arms, letters and 
 commerce. In defigning them, regard muft be had to the nature of the place where 
 they are to be employed. Such as are intended for halls, guard rooms, falons, 
 galleries, and other confiderable places ; muft be compofed of large parts, few in 
 number, of diftinct and fimple forms, and having a bold relief : but chimney pieces 
 for drawing rooms, dreffing rooms, bed chambers, and fuch like; may be of a more 
 delicate and complicated compofition. The workmanfhip of all chimney pieces 
 muft be perfectly well finifhed, like all other objects liable to a clofe inflection : and 
 the ornaments, figures, and profiles ; both in form, proportions, and quantity, muft 
 be fuited to the other parts of the room ; and be allufive to the ufes for which it is 
 intended. All nudities, and indecent reprcfentations muft be avoided both in chim- 
 ney pieces and. in every other ornament of apartments, to which children, ladies, 
 and other modeft grave perfons, have conftant recourfe : together with all repre- 
 fentations capable of exciting horror, grief, difguft, or any gloomy unplcafing 
 fenfations. 
 
 Chimney riECES, are either made of ftone, of marble, or of a mixture of 
 thefe ; with wood, fcagliola, or-moulu, or fome other unfragile fubftances. Thofe 
 of marble are moft coftly, but they are alfo moft elegant ; and the only ones, ufed in 
 high finifhed apartments : where they are feen either of white, or variegated marbles, 
 fometimes inlaid and decorated, with the materials juft mentioned. AH their orna- 
 ments, figures, or profiles, are to be made of the pure white fort, but their frizes, 
 tablets, pannels, {hafts of columns, and other plain parts, may be of party-coloured 
 marbles, fuch as the yellow of Sienna, the Brocatello of Spain, the Diafpers 
 of Sicily, and many other modern as well as antique marbles, frequently to be 
 had in England. Feftoons of flowers, trophies and foliages, frets and other fuch 
 decorations, cut in white ftatuary marble and fixed on grounds of thefe, have a very 
 
 Q q q good 
 
128 Of PROFILES for DOORS, WINDOWS, 
 
 good effect. But there fhould never be above two, or at the utmofl three different 
 Forts of colours in the fame chimney piece; all brilliant, and harmonizing with 
 each other. 
 
 In the two annexed plates are eleven different defigns for chimney pieces ; 
 Tome of them compofed by Palladio and Inigo Tones, the reft by me. Their pro- 
 portions may be gathered from the defigns, which are executed with tolerable 
 accuracy. Some other chimney pieces will be found among the defigns at the end 
 of the book. 
 
 The fhafts of the chimney funnels fhould be regularly difpofed on the roofs 
 of buildings, and all of them be made of the fame height, breadth, and figure. 
 They are handfomefl when made of ftone, of a cubical figure, and finifhed with a 
 light cornice, compofed of few mouldings. Scamozzi recommends obelifks and 
 vafes ; Scrlio has given feveral defigns for decorating the tops of funnels, which 
 refemble towers ; and Sir John Vanbrugh frequently converted his into caftles : as 
 may be fecn at Blenheim, Caftle Howard, and others of his numerous ftately works. 
 
 Ne ither the Italians above cited, nor the Enghfhman, have been very fuccefsful 
 in their defigns ; but upon the fame ideas, good ones might be compofed ; and 
 made to terminate a ftruclure with grace and propriety. 
 
 Of PROFILES fir DOORS, WINDOWS, NICHES, 
 CHIMNEY PIECES, &c. 
 
 WHEN any of the abovementioned objecls are very large, the profiles of the 
 orders are employed in their decoration : but when fmall, as is more fre- 
 quently the cafe ; other profiles, of a lefs complicated figure are ufed. 
 Palladio has in his firft book, given defigns of feveral ; three of which are exhibited 
 in the annexed plate. Fig. 1, is the richefl of the three, and very proper for 
 windows, or doors, of the Corinthian order. The account given by that author of 
 its proportions being very tedious and fomewhat confufed, is here omitted. But all 
 the operations for proportioning the different members by equal parts, are expreffed 
 on the defign. 
 
 Fig. 2, may be employed in an Ionic, or rich Doric order. Its architrave is 
 to be divided into four parts ; the frize to be made equal to three, the cornice to 
 five of thefe parts. For the fubdivifions fee the plate, or confult Palladio's book : 
 his whole text upon fo flight a fubject, being too long to be inferted here. 
 
 Fig. 3, is proper in a Doric order. Its divifions are lefs complicated than the 
 former two, and may eafily be collected from the defign. 
 
 In the beginning of this work, I have pointed out the trouble and tedioufnefs 
 of determining proportions by equal parts ; thofe who pcrufe the three paragraphs 
 
 in 
 
NICHES, CHIMNEY PIECES, &c. 129 
 
 in Palladio's work, employed in proportioning the three cornices juft mentioned, 
 will, I think, have few doubts remaining upon that fubjecl. And for my own part, 
 though I fee no objection to Palladio's great proportions, which are proper, in mod 
 cafes, where fwelled frizes are ufed ; and the architrave of the door, or window, is 
 not lefs, nor much exceeds, one fixth of the width of the aperture ; yet, for the 
 parts, I venture to prefer employing the entablatures of the different orders of 
 architecture, proportioned as they are ; with the rejection of fuch mouldings or 
 members as feem fuperfluous, and which, if introduced, would render the objecl 
 confufed ; and from the fmallnefs of its dimenfion, too diminutive to ftand a com- 
 parifon with other parts of the compofrtion. 
 
 Thus, for inftance, if the order in which the door, window, or nich is placed, 
 be Compofite or Corinthian; the Compofite, or Corinthian entablature may be 
 ufed for their dreflings, with the omiflion of either dentils or modillions. The 
 Compofite architrave may be ufed as it is, but the Corinthian fhould be diverted 
 of the lower fafcia, with the little aflragal by which it is feparated from the fafcia 
 direftly above it. 
 
 In the Ionic order, the Ionic entablature may on fome occafions be ufed as it 
 is, to drefs the doors and windows ; provided the dentils be not cut : but in mofl 
 cafes, it will be propereft to leave out the dentil band, with the aftragal above it; 
 and ftrengthen the fillet ; which then, will make the feparation between the ovolo 
 and the bottom moulding. 
 
 The profiles of doors, of windows, of niches, and in fhort ; the profiles of all 
 fubfervient parts ; muff not only be lefs in the whole, but likewife in each particular 
 member, than thofe of the orders employed in the fame composition : or than the 
 cornice or entablature, which ferves as a finifhing to the whole defign : it being 
 among the groffeft of errors, to make any ornaments belonging to th£ parts, more 
 predominant than thofe which are particularly appropriated, to the embellifhment 
 of the whole mafs, as Pietro da Cortona has clone at St. Carlo in the Corfo at 
 Rome, where the profiles of the great door, on the infide of the church, are 
 considerably larger than thofe of the order in which that door is contained. 
 
 The ufual proportion given to architraves of outfidc windows, niches, or 
 doors, is from one feventh to one fifth of the width of the aperture. Where the 
 architrave is fupported on each fide by pilaftcrs, as is frequently the cafe ; or where 
 rufticks are applied, it may be a feventh, and fhould never exceed a fixth of the 
 width of the aperture ; but whenever it is unaccompanied, it ought never to be lefs 
 than one fixth, nor fhould it ever exceed one fifth thereof. If the frizes be fwelled, 
 their dimenfions, as well as thofe of the cornices, may be determined as Palladio 
 directs ; by dividing the breadth of the architrave into four parts, and giving three 
 of thefe parts to the height of the frize, and five of them to that of the cornice : 
 but if the frize be flat and upright, its height muft be equal to the breadth of the 
 architrave. 
 
 The pilafters which accompany the architrave, may be from one half to two 
 thirds of its breadth. They commonly fupport confoles of various forms, equally 
 broad with themfelves, and in length, generally from one half, to two thirds of the 
 
 R r r width 
 
130 Of BLOCK CORNICES, &c. 
 
 width of the aperture. Thefe fupport the corona of the cornice above, and reft 
 below on mafks, ftiells, leaves, bells, or drops. 
 
 In interior decorations, where the eye is nearer the objefts than in exterior ; 
 every thing fhould be more delicate, and calculated for clofer infpeaion ; the door 
 architraves there fhould never exceed a fixth of the aperture ; and the frize and 
 cornice may be proportioned to them, as is before directed. 
 
 It is not ufual to employ either frize or cornice over infide windows, as they 
 would ftand in the way of the curtains ; and though the windows are in general 
 made wider than the doors, their architraves are never made larger ; on the con- 
 trary, they are often, for the advantage of having more room in the piers for large 
 glafies, reduced to three or four mouldings, furrounding the aperture, and forming- 
 boxes for the fhutters to fold into. 
 
 With refpeft to chimney pieces, they are of fuch various compofitions ; and 
 fo great a latitude is allowed the compofer ; that little can be determined concerning 
 them. In general, their architraves fhould not be lefs than one fixth, nor exceed 
 one fifth of the aperture's width ; their frizes may be from two thirds to three fourths 
 of the architrave, and their cornices fhould feldom or never be higher than the 
 frize, but on moft occafions fomewhat lower ; fince when they are large, and projecT; 
 much, they become inconvenient, and dangerous to the heads of the company. 
 
 Of BLOCK CORNICES and EXTRANEOUS 
 ENTABLATURES. 
 
 BLOCK CORNICES and entablatures, are frequently ufed to finifh plain build- 
 ings, where none of the regular orders have been employed. Of this kind 
 there is a very beautiful one compofed by Vignola, much ufed in Italy, and 
 employed by Sir Chriftopher Wren to finifh the fecond order of St. Paul's. I have 
 given a delign of it in the fecond plate of the Compofite order, with the meafures 
 of all its parts, determined according to Vignola's method, by a module divided 
 into eighteen minutes. When this entablature is ufed to finifh a plain building, 
 the whole height is found by dividing the height of the whole front into eleven parts ; 
 one of which muft be given to the entablature, and the remaining ten to the reft of 
 the front. And when it is employed to finifh an order ; which however, may as well 
 be let alone ; it muft be fomewhat lefs in proportion to the columns, than a regular 
 entablature would be: becaufe its parts are larger. The angles of the building, 
 where this entablature is ufed, may be adorned with quoins ; the fhort ones about 
 a module long, and the long ones a module and a half; the height of each being to 
 be, about three quarters of a module, including the joint. 
 
 Among the profiles for windows, &c. there are three other block entablatures, 
 of a Ampler make ; the fecond of which, Palladio has executed in a couple of houfes : 
 the one at Vivaro, and the other at Monteccio, villages of the Vicentine. The other 
 
 two 
 
Of the PROPORTIONS of ROOMS. 131 
 
 two are not very different from that : the meafures of all of them, arc taken from 
 Mr. Gibbs's rules ; and may eafily be collefted from the defigns. Thefe entablatures 
 need not exceed one thirteenth of the whole height of the front, nor lhould they 
 ever be much lefs than one fifteenth. Fig. 7 and 9, in the fame plate, are two block 
 cornices ; the former of which is executed in a palace at Milan, and the other by 
 Raphael, at a houfe in the Lungara at Rome : the height of thefe, need never exceed 
 one fixteenth part of the whole front, nor fhould it be lefs than one eighteenth. Fig. 
 8, is an architrave cornice, which M. Angelo, Baldafiar Peruzzi, and Palladio, have 
 employed in fome of their compofitions. This kind of profile is a proper finifhing 
 for columns fupporting the archivolts of arches, as it approaches nearer the propor- 
 tion of an import, than a regular entablature would : its height may be one eighth 
 of the height of the column. 
 
 Of the PROPORTIONS of ROOMS. 
 
 THE proportions of rooms depend in a great meafurc, on their ufe, and actual 
 dimensions : bvit with regard to beauty, all figures from a fquarc to a fefqui- 
 alteral, may be employed for the plan. Inigo Jones, and other great archi- 
 tects, have fometimes even exceeded this proportion, and extended the plan to a 
 double Iquare : but the great difparity between the width and length of this figure, 
 renders it impoffible to fuit the height to both : the end views will appear too high, 
 and the fide ones too low. 
 
 It may perhaps to fome appear abfurd to make this objection ; when galleries 
 are frequently three, four, or five times as long as they are wide : but it mull be 
 obferved, that, in this cafe, the extraordinary length renders it impoffible for the 
 eye to take in the whole extent at once ; and therefore the companion between the 
 height and length, can never be made. 
 
 The heights of rooms depend upon their figure : flat ceiled ones may be lower 
 than thofe that are coved. If their plan be a fquarc, their height fhould not exceed 
 five fixths of the fide, nor be lefs than four fifths ; and when it is an oblong, their 
 height may be equal to their width. But coved rooms if fquare, mull be as high as 
 bread, and when oblong, their height may be equal to their width ; more one fifth, 
 one quarter, or even one third, of the difference between the length and width : 
 and galleries fhould, at the very leaft, be in height one and one third of their width, 
 and at the moft, one and a half, or one and three fifths. Thefe proportions are all 
 perfectly good, as they obviate any idea of confinement, and, at the fame time, 
 render it practicable, for thofe who are in the room, to examine the figure and 
 ornaments of the ceiling, without either pain or difficulty. 
 
 It is not, however, always polfible to obferve exactly thefe proportions. In 
 dwelling houfes, the height of all the rooms on the fame floor is generally the fame, 
 though their extent be different ; which renders it extremely difficult in large 
 buildings, where there are a great number of different lized rooms, to proportion all 
 
 S s s of 
 
132 Of the PROPORTIONS of ROOMS. 
 
 of them well. The ufual method, in buildings where beauty and magnificence are 
 preferred to ceconomy, is to raife the halls, falons, and galleries, higher than the 
 other rooms, by making them occupy two ftorics : to make the drawing rooms, or 
 other largeft rooms, with flat cielings : to cove the middle fized ones a third, a 
 quarter, or a fifth of their height, according as it is more or lefs exceflive : and in 
 the fmalleft apartments, where even the higheft coves are not fufficient to render 
 the proportion tolerable ; it is ufual to contrive mezzanins above them : which afford 
 fervants lodging rooms, baths, powdering rooms, wardrobes, and the like; fo much 
 the more convenient, as they are near the flate apartments, and of private accefs. 
 The Earl of Leiccfter's houfe at Holkham, is a mafter-piece in this refpect ; as well 
 as in many others : the diftribution of the plan, in particular, deferves much com- 
 mendation ; and does great credit to the memory of Mr, Kent : it being exceedingly 
 well contrived, both for flate and convenience. And, with regard to the whole 
 interior decoration, it may certainly vie, in point either of magnificence, or tafle, 
 with any thing now fubfiflent in England. 
 
 Since writing the above, thirty years have elapfed ; and a very different ftile of 
 decoration has been introduced : which, for richnefs and neatnefs of execution, far 
 furpaffes any thing done at that time. The executive powers of our workmen are 
 certainly much improved ; yet, it is far from certain, that the tafle is better now, 
 than it was then. That ftile, though fomewhat heavy, was great ; calculated to flrike 
 at the inftant ; and although the ornaments were neither fo varied, nor fo numerous 
 as now ; they had a more powerful effect : becaufe more boldly marked, lefs com- 
 plicated in their forms, and lefs profufely applied. They were eafily perceptible 
 without a microfcope, and could not be miflaken for filigrane toy work. Content 
 with the flores, which the refined ages of antiquity had left them, the architects of 
 that day ; ranfacked not the works of barbarous times ; nor the port-folios of whim- 
 fical compofers ; for boyifh conceits, and triflingly complicated ornaments. 
 
 The coldnefs of our Englifh climate, and the frugality of thofe who build; are 
 ftrong objections to high rooms : fo that we frequently fee the mofl magnificent 
 apartments, not above fifteen, fixteen, or at mofl eighteen foot high ; though the 
 extent of the rooms would require a much more confiderable elevation. This 
 practice is however not to be imitated, where beauty, or effect are aimed at. There 
 are many good expedients for warming rooms, however fpacious or lofty ; and to 
 confider expence, in that particular alone, is an ill judged piece of parfimony ; as 
 it renders all other expence employed in the decoration of the room, ineffectual. 
 
 When rooms are adorned with an entire order, the entablature fhould never 
 exceed one fixth of the whole height, nor be much lefs than one feventh in flat 
 ceiled rooms ; and one fixth or feventh of the upright part in fuch as are coved. 
 And, when there are neither columns nor pilafters in the decoration, but an enta- 
 blature alone ; its height fhould not be above one feventh or eighth of thefe heights. 
 If rooms are finifhed with a fimple cornice, it ought never to exceed one fifteenth, 
 nor ever be lefs than one twentieth part of the abovementioned heights : and when 
 there is a frize added to the cornice, with an aftragal or other mouldings under it, 
 as is fometimes cuflomary; the whole height of thefe, together w"ith the cornice, 
 fhould never exceed one eighth of the upright height of the room. In general, all 
 
 profiles 
 
Of CIELINGS. 
 
 133 
 
 profiles within a building, mull be more delicate than thofe on the outfide : the 
 architraves of the doors and windows fhould never exceed one fixth of the breadth 
 of the aperture; on moil occafions, one feventh will be fufficient; and all other 
 parts muft be diminifhed proportionably. 
 
 Of 
 
 CIELINGS. 
 
 ^"""IIELINGS are either flat, or coved in different manners. The fimpleft of the 
 § . flat kind are thofe adorned with large compartments, either let into the 
 cieling or being flufh with its furface, and furrounded with one or feveral 
 mouldings, as reprefented in the firft, fecond, and tenth, figures of the firft plate 
 of cielings : and when fome of the mouldings which furround the compartments are 
 enriched, and fome of the compartments adorned with well executed foliages, or 
 other ftucco or painted ornaments, fuch cielings have a very good effect ; they are 
 very proper for common dwelling houfes, and for all low apartments. Their orna- 
 ments and mouldings do not require a bold relief, but being near the eye, they 
 muft be finifhed with tafte and neatnefs. For higher rooms, the kind of flat cielings 
 reprefented in the third, fourth, feventh, and eighth figures, of the fame plate; 
 and in one of the figures of the fecond plate, are more proper ; as they have a much 
 bolder relief. The ufe of thefe is frequent, both in Italy and England. They feem 
 to be compofed of various beams, framed into each other, and forming compartments 
 of different geometrical figures. The defigns which I have given, are all for fquare 
 cielings : but oblong, or thofe of any other form, may be comparted in the fame 
 manner ; the figures of the compartments being varied according to the fancy of the 
 compofcr, and made either polygonal, circular, or cllyptical. The fides of the 
 beams forming thefe compartments, are generally adorned with mouldings; and 
 reprefent, either a fimple architrave, or an architrave cornice, according to the fize 
 of the compartments, and the height of the room. Sometimes the larger compart- 
 ments are deeper than the fmall ones, with which they arc accompanied, and 
 furrounded with a fuller profile : as in the flat cieling of the fecond plate ; which is 
 a deiign of Baldaffar Peruzzi, executed in the veftibule of the Maffimi Palace at 
 Rome. The foffits of the beams are feldom left plain, but are adorned with GuiU 
 loc/us or frets of various kinds, of which I have given a good number of defigns in 
 the firft and fecond plates of cielings : and when the utmoft degree of richnefs in 
 the decoration is aimed at, the ground of the compartments is likewife adorned ; 
 either with paintings, or with baffo relievos, reprefenting grotefque figures, foliages, 
 feltoons, tripods, vafes, and the like ; of which there are fome defigns in the firft 
 plate of cielings. 
 
 Coved cielings are more expenfive than flat ones; but they are likewife 
 more beautiful, fufceptible of a greater variety of decorations, and in general, more 
 fplendid. They are promifcuoufly employed in large or fmall rooms, and occupy 
 from one fifth to one third of the height of the room, according as that height is 
 more or lefs confiderable. If the room is low in proportion to its width, the cove 
 muft likewife be low ; and when it is high, the cove muft likewife be fo : by which 
 means the excels of height will be rendered lefs perceptible. But, where the 
 
 X t t architecl 
 
134 Of C I E L I N G S. 
 
 architect is at liberty to proportion the height of the room to its fupcrficial dimen- 
 sions, the molt eligible proportion for the cove, is one quarter of the whole height 
 In parallelogram figured rooms, the middle of the deling is generally formed into 
 a large fiat pannel; as in the fifth and fixth figures of the firft plate of deling • 
 which is either left plain, or painted; adorned with coffers and rofes or com' 
 partments, or with grotefque ornaments ; according as the decoration is to be rich 
 or Ample. This pannel, with the border that furrounds it, may occupy from one 
 half to three fifths of the breadth of the room. The form of the cove is generally 
 either a quadrant of a circle, or of an ellypfis, taking its rife a little above the 
 cornice and fimfhing at the border furrounding the great center pannel ; that lb 
 the whole curve may be feen from the end of the room. This border is made to 
 project fomewhat beyond the cove on the outfide, and on the fide towards the 
 pannel, it is ufually made of a fufficient depth to admit the profile of an architrave 
 or of an architrave cornice. ' 
 
 The coved part of the deling, may either be left plain, as in one of the above- 
 mentioned defigns ; or adorned, as in the other; either, in the manner there repre- 
 sented, or in any other of the fame kind; or elfe with coffers of different polygonal 
 hgures, of which there is a great variety in the third plate of cielings ; very proper 
 both for this purpofe, and hkewife to adorn flat cielings. ' 
 
 In England, circular rooms are not much in ufe : but they are neverthelefs very 
 beautiful Their height muft be the fame as that of fquare rooms: their cielin/s 
 may be flat, but they are handfomer when coved, or of a concave form, whether 
 of a fern-circular, or femi-ellyptical profile. In the fourth plate of cielings, I have 
 given five different defigns for them, compofed by M. Angelo, Bartolomeo Amanato, 
 Baldaffar Peruzzi, and Algardi : they are executed in the Capitol, the Mattel Palace 
 and the villa Paraphilia at Rome. Molt forts of compartments and coffers are 
 hkewife yery proper for thefe circular coves; as well as for coves of odagonal, or 
 other polygonal plans. 6 
 
 ■ ^':f W '' or ' as Mr - Gib bs calls them, foffits of arches, are frequently 
 
 enriched When narrow,, their ornaments confift of GuiUachu or frets: but when 
 broad, they are adorned m a variety of different manners. I have given feveral 
 defigns of them compofed by Raphael, Amanato, and M. Angelo, which are ex- 
 ecuted at St. Peter's, at the Pallazzo Mattel, and the villa Madama near Rome. 
 
 When the profiles, or other parts of a room are gilt, the deling muft likewife 
 be lo; and that, full as profufcly as the reft. The ufual method here, is to gild all 
 the ornaments, and to leave the grounds white, pearl, ftraw colour, light blue or 
 or any other tint proper to fet off the gilding and ornaments to the beft advantage- 
 but I have frequently feen that pradice reverfed with more fuccefs, by gilding the 
 grounds, and leaving the foliages white, party-coloured, or ftreaked with goldf 
 
 It requires much judgment, to diflribute either gold or colours properly. Great 
 care muft be taken not to leave fome places dull or bare, while others are fo much 
 covered that they appear like lumps of gold, or beds of gaudy flowers : in general, 
 it is to be obferved, that wherever the gilding or colouring, tends in the leaft, to 
 
 confufe . 
 
Of C I E L I N G S. I35 
 
 mrH^ffti ft f ° giVe k ■ f Tf 7 a PP earance > °' to render the outline of any 
 part mdittinct ; they are certainly ill employed. y 
 
 and Yreull C ' ELING V^T^"* one of the great embellifhments of Italian 
 and French ftrudures and in which, the greateft mailers have difplayed their utmoft 
 abilities ; are not in ufe among us. For one cannot fuffer to go by fo high a name 
 the trifling, gaudy ciehngs now in fafhion : which, compofed as they are of little 
 rounds fquares, oftagons hexagons and ovals; excite no other idea/than that of a 
 defert: upon the plates of which are d.fhed out, bad copies of indifferent antiques. 
 Fhey certainly have neither fancy, tafte, fplendour, execution, nor any other 
 linking quality to recommend them. But mould the true ftile of fuch compositions 
 ever come into fafhion, we might hope to fee hiftory painting flourifh in England', 
 fill then, it cannot reafonably be expeded, while religion has baniflred pidures 
 from otToufes ^ ° f C ° nn ° iffeUrS have excIuded ™^rn paintings 
 
 It muft however be allowed, that, fince the firft publication of this book, the 
 art of painting has taken a very different turn. At that time, little encouragement 
 was afforded to any, but portrait painters; and to confers the truth, very few, even 
 d thefe, deferred much to be encouraged: but the inftitution of a Royal Academy 
 for the regular inft ruclion of artifts ; the eftablifhment of an exhibition under royal 
 patronage, m which they are admitted to Hand competitors for fame, with thole 
 molt famed: the encouragement held forth to them by His Majcfty, the nobility 
 the gentry, and even by feme of their own profeffion : has roufed the genius, of 
 our Enghfh artifts; ftimu ated their ambition; brightned up their profpeftt Many 
 of them now vie with the firft of their cotemporaries in Italy, in France, or elfe- 
 where: and fhould encouragement become yet more generally diffufed; it mieht 
 reafonably be conjured, from the rapid ftrides already made towards perfedion ; 
 that m he courfe of a few years, the Englifli fchool might afpire to ftand unrivalled 
 or be at lealt equal m fame, to any other of its time. 
 
 I have now gone through the principal branches of the decorative part of 
 architecture which was all originally intended; my purpofe having then been to 
 reieryc for a future occafion, whatever related to the convenience, ftrencrth or eco- 
 nomical management of buildings. Ignorant how far I might be equal to the talk 
 undertaken, it feemed prefumptuous to come upon the publick with a bulky per- 
 formance; poffibly of no merit: and it would have been imprudent to nfque my 
 own fortune, in a bufmefs which might have been ruinous to me, without beine 
 profitable to others. What then was publifhed, I offered as a fpecimen of that 
 which was farther intended, determined to be ruled by its reception, either to 
 proceed or to defift. 
 
 The concife manner in which it has been attempted to treat the fubjeft of the 
 prefent publication, will, it is hoped, be feme inducement to perfons of diftinaion, 
 to perufc the performance: and if the precepts are as clear and fatisfaftory, as the 
 author intended ; the work may be of ufe, even to gentlemen ; travellers in parti- 
 cular; mofl of whom, from utter ignorance in architefture, as well as in other arts • 
 have heretofore loft half the fruits of their journies, returned unacquainted with the 
 
 U u u mo ft 
 
136 DESIGNS for CASINES, 
 
 moft valued produftions of die countries they had vifited; and perfeffly diffatisfied 
 with expeditions, from which they had derived very little ufeful inftruaion, or real 
 amufement. 
 
 I 
 
 DESIGNS for CASINES, TEMPLES, GATES, 
 
 DOORS, &c. 
 
 N the firft and fecond plates, are the elevation and plans of a cafine erefted at 
 Marino, a villa belonging to the Earl of Charlemont, near Dublin. 
 
 This defign was originally one of the end pavillions of a confiderable compo- 
 fition made foon after my return from Italy, for Edwyn Lafcells, Efq; now Lord 
 Harwood: which, among many others, his Lordfhip procured for Harwood Houle. 
 The fame compolltion, with confiderable variations, was afterwards wrought to the 
 extent of a palace, for Her late Majefty, the Dowager Queen of Sweden. The 
 only part however, of either of the large defigns which has been executed, is the 
 prefent little publication, which was built by Mr. Verpyle with great neatnels and 
 tafte, after models made here and inftruaions lent from hence. 
 
 In the third plate are the plans and elevation of a cafine, built feme years ago 
 at Wilton the feat of the Earl of Pembroke in Wiltfhire. It confifts of a fmall 
 falon and portico above, and of a little kitchen or fcrvants waiting room below. 
 
 In the fourth plate is the elevation of a hunting pavillion, defigned many years 
 ago for the Earl of Ailefbury : then Lord Bruce. 
 
 In the fifth plate is a plan of the faid pavillion, and alfo of a kind of circular 
 monopteros temple with two rooms adjoining to it, compofed originally for Henry 
 Willoughby, Efq; now, Lord Middleton. The defign was afterwards confidently 
 augmented in its plan, and contrived for the reception of ftatues and other valuable 
 'antiquities, belonging to the Earl of Charlemont's collection at Marino. 
 
 The fixth plate, exhibits an elevation of the faid circular monopteros com- 
 pofition. 
 
 In the feventh plate are the elevation and plan of an odagon Doric temple, 
 defigned while at Florence, for the late Earl of Tylney : and propofed to be executed 
 in his Lordfhip's gardens at Wanftead. 
 
 The eighth plate exhibits the fame difpofition, decorated in a different manner. 
 
 In the ninth plate are defigns of a Corinthian proftyle temple, made for Her 
 late Royal Highnefs the Princeis Dowager of Wales, and propofed to be erected in 
 the gardens of Kew. 
 
 In 
 
TEMPLES, GATES, DOORS, &c. 137 
 
 In the tenth plate are the plan and elevation of a defign made for Sir Thomas 
 Kennedy, late Earl of Caffils, with intention to be erecled at his Lordfhip's feat 
 in Scotland. 
 
 In the eleventh plate are the plan and elevation of a maufoleum to the memory 
 of Pope, Gay, and Swift ; defigncd for Kew Gardens. 
 
 In the twelfth plate are two doors defigncd by Andrea Palladio, and ferving 
 as entrances to a garden near the Theatre at Vicenza. 
 
 In the thirteenth plate is a Tufcan gate, imitated from one defigncd by Palladio, 
 which ferves as a back entrance to the Publick Garden at Vicenza. I have executed 
 nearly the fame defign with additions at Blenheim : where it ferves as the principal 
 entrance to the kitchen garden. 
 
 In the fourteenth plate is the principal front and plan of a triumphal arch, 
 compofed by me, and executed under my direction at Wilton. 
 
 In the fifteenth plate are defigns of a ruftick Tufcan gate, imitated from Inigo 
 Jones's York Stairs. An ancient infeription was by miftake put into the tablet, 
 which could not be effaced without Ipoiling the plate. I have fince executed nearly 
 the fame defign in the embankment of Somerfet-Place, with the addition of lions 
 over the columns of the order, medallions and vafes in the fide intercolumniations, 
 and pedeftals under the columns: which, with the fteps down to the Thames, 
 confiderably improve and augment the confequence of the compofition. 
 
 In the fixtcenth plate is a defign made by defire of his Grace the Duke of 
 Richmond, for an entrance to Privy Garden, Whitehall. 
 
 In the feventeenth plate is a tripod, defigned for his Grace the Duke of Marl- 
 borough, executed by Mr. Witton in Portland ftone, and creeled in the gardens 
 at Blenheim. 
 
 In the eighteenth plate are various ornamental utenfils, defigned for the Earl 
 of Charlemont, for Lord Melbourne, and for fome decorations in my own houfe. 
 
 IN the nineteenth plate are two defigns of chimney pieces, the one intended 
 for Windfor Caftle, the other for Melbourne Houfe in Piccadilly. 
 
 A twentieth plate was defigned, and partly engraved ; it confifted of orna- 
 mental utenfils, invented for their Majcfties, for his Grace the Duke of Marlborough, 
 and for the Royal Academy. But the engraver Mr. Charles Grignion, finding it 
 would have required more time to finifh in the manner he wifhed, than his other 
 avocations would afford, declined to proceed : and the impoflibility of finding an 
 equally able ornamental hand, to finifh what he had fo well begun, obliged me, 
 though very reluclantly, to lay the publication afide. 
 
 FINIS. 
 
Directions to 
 
 the Binder. 
 
 The PLATES reprefenting 
 
 PRIMITIVE BUILDINGS mult front page .. Regular Mouldings, &c. p. 3. Orders of the Ancients, &c. p. 8. Tufean Order, P- 
 ,5. Doric Order, p. I 7 . Doric Entablatures, p. 21. Ionic Order, p. 23 . Goldman s Volutes, p. 24. Ionic Entablatures, p. 
 35. Commute Order p. so. Compofitt .Entablatures, and Capitals, p. 18 Cormth.an Order p. 29 P. after Capitals p 3.- 
 Perhans and Cat) atides, p. 36- Intcrcolumniarions, p. 42. Arches without Pedeftals, p. 46. Arches m* Pedcftab, p^A Varfpui 
 Sorts of Arcades, p.. jo. Columns upon Columns, p. 51. .Arches upon Arches, p. 54. Pediments, &c. p 58 S^I. 
 Gates and Piers p. 61. Doors, p. 6 S . Four Windows, p. 69. Nine Windows, p. 71. Six \\ mdows, p. 72 Deligns tor Chimney 
 Ree7s, p 77 Lord Charlemont s Chimney Pieces, p. 79. Profiles for Doors, fc. p. 8a OroamcnB for Hat and for the 
 
 Compartments of Cielings, p. 83. Enrichments for a Flat Cicling, and for Soffits of Arches, ttC p. 84. After which the Plate of Com- 
 partments, for Coved Cielings ; and then that of Ornaments for Circular Coved Cielings. 
 
 Order of the DESIGNS at the End of the Book. 
 
 • ift. Elevation of Lord Charlemonfs Cafine. 2d. Plans of the Tame. 3d. Lord Pembroke's Cafine +*■ Elevation of Lord 
 Bnice's Cafine. 5 ,li. Plan of the fame, and of Mr. Willoughbys Temple. 6th. Elevation ot Mr. Willoughby s Ten, 7*-^ 
 Tilncy's Temple. 8th. Defign inferihed to I. Hall Stcvenfon. Efq; 9th. Delign ...fcribcd to 1 . Worlley, tfq; 10*. Earl of Ca le U 
 Defign. ,,th F Defign infcribed to Sir Charles Hotham, Bart. .2th. Defign inferred to Robert Wood, Efq; 3*. Dcf gn mfcr^d 
 to the Hon. Mr. Ward. 14th. Lord Pembroke's Triumphal Arch. 15th. Defign infcribed to Thomas Brand, Efq; "«h. 1 «W1 
 infcribed to his Grace the Duke of Richmond. 17th. Tripod- 18th. Ornamental Utcnhls. 19th. Two Chimney Pieces for Wmdlor 
 Caftle and Melbourne Houfe. 
 
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