than the diameter of the column; whereas, in the other Orders, the inter-columns may be made, at pleasure, either a little wider or narrower than usual. The end triglyphs of the Grecian Doric are placed quite up to the edge, or outer angle of the frieze. The Doric CORNICE is the last division of the entablature. It is about a third or even more than a third less than the others, and may itself be divided into three principal parts or members, viz., the corona, with the mutules and other bed mouldings beneath it, and the epitithetas above it. The mutales are thin plates or shallow blocks attached to the under şide or soffit of the corona, over each triglyph and each metope, with the former of which they correspond in breadth, and their soffits or under-surfaces are wrought with three rows of guttae or drops, conical or otherwise shaped, each row consisting of six guttae, or the same number as those beneath each triglyph. Nothing can be more artistically disposed; in like manner, as an intermediate triglyph is placed over every two columns, so is an intermediate mutale over every two triglyphs. The smaller members increase in number as they decrease in size; and in the upper and finishing part of the Order, the eye is led on horizontally, instead of being confined vertically to the lines indicated by the columns below. The corona is merely a boldly projecting flat member, not greatly exceeding in its depth the abacus of the capital; and in some examples it is even less. The epitithetas, or uppermost member of the cornice, is sometimes a cymatium, or wavy mouldering, convex below and concave above; sometimes an echinus mouldering, similar in profile to the echinus of the capital. The cornice may be said to be to the entablature, and indeed to the whole Order, what the capital is to the column,-completing and concluding it in a very artistic manner. By its projection and the shadow which it casts, the cornice gives great spirit and relief to the entablature, which would else appear both heavy and unfinished. In the horizontal cornice beneath a pediment, the epitithetas is omitted, and shows itself only in the sloping, or racking cornices, as they are called, along the sides of the pediment. Anta.-Pilasters, as well as columns, belong to an Order, and in modern practice are frequently substituted indifferently for columns, where the latter would be engaged or attached to a wall. In Grecian architecture, however, the ante, as they are thus termed, to distinguish them from other pilasters, are never employed. They are never placed consecutively, or in any series, but merely as a facing at the end of a projecting wall, as where a portico is enclosed at each end by the walls forming the sides of the structure, in which case it is described as a portico in antis. Although they accompany columns, and in the case just mentioned, range in the same line with them, antæ differ from them inasmuch as their shafts are not diminished; for which reason their faces are not made so wide as the diameter of the columns, neither are their capitals treated in the same manner, and both shaft and capital would be exceedingly clumsy. The expanding echinus of the column capital is therefore suppressed, and one or more very slightly projecting facia, the uppermost of which is frequently hollowed out below, so as to form in section what is called the "bird's nest" moulding. In a portico in antis the want of y greater congruity between the antæ and the columns is made up for by various contrasts. Flatness of surface is opposed to rotundity, vertical lines to inclined ones (those of the cutline and flutings, of the column) and uniformity, in regard to light, to the mingled play of light and shade on the shafts of the columns The Greeks never channelled the faces of their anta, whereas the moderns flute their pilasters as well as columns The artistic reason for such a distinction would seem to have been to prevent harshnesss and dryness of effect-all the lines being parallel to each other, while in the columns ali the lines approach each other towards the top and would meet if the column were extended far enough. PEDIMENT. The pediment may properly be considered as no part of the Order, but it serves to illustrate how a figure which, considered merely in itself, is generally regarded as neither beautiful nor applicable to architectural purposes, may be rendered eminently beautiful and satisfactory to the eye. The pediment must, when it does appear, be in accordance with the order itself, or that front of the building which is beneath the pediment; ccnsequently the pitch of the latter must be regarded by circumstances,-must be either greater or less according to the proportions of the front itself. So far from being increased in the same ratio, the wider the front, the greater the number of columns at the end of the building, the lower must the pediment be kept, because the front itself becomes of low proportions in the same degree as it is extended or widened. Under all circumstances, the height of the pediment must remain pretty nearly the same, and be determined, not by width or horizontal extent, but by the height of what is beneath it. The height of the pediment or its tympanum (the triangular surface included. between the horizontal cornice of the Order, and the two racking cornices of the pediment) newer greatly exceeds the depth or height of the entablature; for were it to do so, the pediment would become too large and heavy, would take off from the importance of the Order, and appear to load its entablature with an extraneous mass which it was never calculated to bear. It was a very usual practice among the ancients to fill the whole of the tympanum of the pediment with sculpture, and also the metopes of the frieze, by which the latter instead of being mere blank spaces between the triglyphs, were converted into ornamental features. MODERN DORIC. The Modern Doric resembles the original one in the mode of fluting the arrises instead of fillet-the general form of capital composed of echinus and abacus, and the triglyphs apon the frieze. The differences are: the column is increased from six to eight diameters. The sunk annulets beneath the capital were omitted or converted into fillets; the capital was increased in depth by a distinct necking being given to it, divided from the shaft by a projecting moulding, which in that situation is called an astragal. The greatest change is the addition of a base to the column. The base best adapted to the Order, as being the most simple, though not uniformly made use of, is that which consists merely of a torus, or large circular and convex-sided block, and two shallow. fillets above it. It may here further be noticed, that beside the base itself, or the base proper, the moderns have, for all the Orders alike, adapted an additional member, namely, a rather deep and square block, which, when so applied, is termed a plinth; and beneath this is frequently placed another and deeper one called a sub-plinth. Though greatly altered, not to say corrupted, from its primitive character, the Doric Order, as treated by the moderns, has been assimilated to the other Orders,—so much so as, though still differing from them in details, to belong to the same general style. One advantage, if no other, of which is, that it may, should occasion require, be used along with the other Orders; whereas the original Doric is so obstinately inflexible that it cannot be made to combine with anything else, or to bend to modern purposes. thentie examples of it exist; it is known only from what Vitruvius says of it, following whose account, modern architects have endeavored, not fruitlessly, to make some thing out of it. The shafts are not fluted and the frieze is quite plain. The Tuscan Order has been differently treated by different Architects, some of them having given it what is merely a modification of the Doric cornice, without its mutales. One thing which the moderns have done, both in their Doric and their Tuscan, is to assimilate pilasters to columns, giving to the former precisely the same bases and capitals as the others have, and also generally diminishing their shafts in the same manner. The proportions usually adopted for this order are as follows: the height of the column seven diameters; that is, considering the order as a kind of Doric, fourteen modules; and the entablature, three modules and a half. The entablature may then be divided Corona. Ovolo. Facia. Facia. Astragal. Torus. Plinth. Shaft. Capital. Architrave. Frieze. Cornice. Base. into ten equal parts, three of which are to be appropriated |