GLOSSARIAL INDEX.
We here make one alphabetical arrangement serve the double purpose of an Index referring to the pages where the respective matters are treated of, and of a Glossary affording explanation, or further remark, as may be, where required. This latter is by no means to be considered a complete or general Glossary of Architectural Terms, but merely as an accompaniment to the present Treatise, and a specimen, perhaps, of what is still a desideratum, namely, areal Lexicon—that is, one which explainsthingsas well as terms—of Ancient and Modern Architecture, similar to what has been provided with regard to the Mediæval Styles of the Art.
Abacus.—Theplateor shallow block forming the uppermost member of a capital is so called for the sake of distinction, for when a similar one is placed beneath the base of a column, it is called aplinth. The Doric abacus is spoken of atpage 14, and is here shown in a plan of the capital and architrave;a a a abeing the angles of the soffit or underside of the abacus which overhang the echinuse e e e; ands sthe soffit of the architrave. From this, the relation between the abacus and architrave, and how much the former exceeds or projects out beyond the latter, will be better understood than by the engraving atpage 14, where the capital is shown only inelevation.
Thenext figureis still more indispensable for understanding the conformation of the Ionic capital. (See page 32.) Here the abacus shows itself only in front atf f, over the two voluted faces, the rest being concealed by the baluster sidesb bof the capital, which extend beyond the abacus, and convert the general plan into more than a square. Although the channels and other details of the baluster sides are omitted, and only their general shape shown, the engraving explains how those sides arereduced(p. 33) by being hollowed out or curved concavely on the plan.
In the next, or Corinthian Order, a similar curvature is given to the abacus itself on all its four sides; the capital of this Third Order having that in common with the First one, that it is quite regular. One great point of difference between the Doric and Corinthian abacus is, that in the former the angles are unsupported, and overhang the circular body of the capital, while in the Corinthian they are extended outwards diagonally, asa a a ain the figure, and supported by thecaulicolior small volutes, which they in turn serve to cover. The lettersf f f findicate the rosettes or flowers on the four faces of the abacus.
Æsthetics—Æsthetic.—A modern architectural writer condemns these terms as ‘silly and pedantic’ ones that have ‘lately come into use in the Arts,’ and as ‘useless additions to the nomenclature’ and language of art-criticism. In what respect ‘Æsthetics’ is at all more pedantic than ‘Optics,’ ‘Mathematics,’ ‘Physics,’ and other words of a similar class now familiar to English ears,—although they are all of them essentially Greek,—or more pedantic than a great many architectural terms which are not only Greek but altogether technical, it is not easy to divine; while as to silliness, there seems to be far greater silliness in rejecting, or objecting to, than in adopting terms which are not only highly expressive and convenient, but have found their way into every European language, from that of Russia to that of Spain.
The term Æsthetics implies the perception and the study of those qualities which constitute the beautiful and artistic, and form the finer essence of all productions of Fine Art. It carries with it, therefore, a more exact and philosophic meaning than the word Taste. In its adjective form, in which it more frequently occurs, it is particularly useful, as no adequate epithet can be substituted for ‘Æsthetic.’ Thus we speak of the ‘æsthetic sense,’ of ‘æsthetic feeling,’ or ‘study,’ or ‘principles,’ &c.; but we cannot say the ‘tasteful sense,’ or ‘tasteful study.’ As to the species of study just alluded to, no term may be required to designate it, because study of the kind is generally dispensed with for Architecture, an historical and technical knowledge of it being deemed sufficient, without any acquaintance with those comprehensiveæstheticprinciples of the Art which can guide us where technical rules stop short, and mere rules abandon us to error or to doubt.
Antæ, Doric,22.
————, Ionic,40.
Antefixæ.—Called by some,Greek Tiles,—upright ornamental blocks placed at intervals on the cornice along the side of a roof, to conceal or rather terminate the ridges formed by the overlapping of the roof tiles.
Aræostyle.—The widest mode of intercolumniation,78.
Astragal.—A small convex moulding. The term is applied chiefly to that which is employed to separate the capital from the shaft of a column.
Astylar.—From the Greek privative α, and στύλος (stylos), a column: columnless or without columns, a term that expresses the absence of columns or pilasters, where they might otherwise be supposed to occur.
Attic.—This is usually defined to be a small Order placed over a principal one; from which it might be supposed that it differed from the Orders in general chiefly by being applied on a smaller scale; instead of which it has nothing of columniation and trabeation in it. There is far greater analogy between an attic and a stylobate, or continuous pedestal, both of them consisting of base, a dado or die, and a simple cornice, and the difference between them consisting chiefly in their application, the stylobate being below, and the attic above the Order. Attics are either plain or pilastered accordingly as the building itself is astylar or the contrary; but what are called attic pilasters are no more than slightbreaksor projections on the general surface, with the mouldings above and below breaking round them, without any sort of capital, but just after the manner of pedestals: their faces, however, are sometimes distinguished from the intermediate surfaces by being panelled and otherwise enriched, as is done, for instance, in the façade of the new Treasury Buildings: another mode of decoration is to place either a statue, or else a caryatid figure, before each break in the front of the Attic, an example of which occurs in the Strand front of Somerset House. When introduced only over particular portions of a façade, such as the centre or extremities, the Attic is an exceedingly useful element in composition, inasmuch as it serves not only to give such parts greater importance, but also to produce play of outline or sky-line; whereas, if continued throughout, it is apt to produce heaviness as well as monotony, and some degree of feebleness of expression also, its cornice forming, in comparison with the principal cornice below, but a very insignificant finish to the general structure.
Axis.—An imaginary line through the centre of a column, &c., or its geometrical representation. Where different members are placed over each other, so that the same vertical line, on the elevation, divides them equally, they are said to be on the same axis, although they may be on different planes. Thus, triglyphs and modillions are so arranged that one coincides with the axis or line of axis of each column. In like manner, the windows or other openings in the several stories of a façade must all be in the same respective axis, whether they are all of the same breadth or not.
Balusterside of Ionic capital,33.
Bed-Mouldings.—This may be understood as a collective term for all the mouldings beneath the corona or principal projecting member of a cornice, which, without bed-mouldings, would appear too much like a mere shelf.
Cabledfluting,60.
Capital.—The capitals of the columns constitute the principal and most obvious indicial mark of the respective Orders. For those of each of the Three Classes or Orders a certain character conformably with the rest of the Order is to be observed; but that attended to, further restriction is unnecessary. Between several examples, all decidedly referable to one and the same Order, very great special differences occur, and there might easily be a very great many more. Although the capital itself is indispensable, it is so onlyæsthetically, and not out of positive necessity. The necessity is only artistic: decoration of the kind there must be, but the express mode of it is one of those matters which should be left to design, to which it properly belongs. Capitals are just as legitimate subjects for the exercise of taste and invention as any thing else in decorative design. The capital is only an ornamental head to the column, and therefore admits of being as freely designed as any other piece of ornament, on the conditions of its being accordant in character with the rest of the Order, and of forming an agreeable transition from the shaft of the column to the architrave.
Caryatides.—Anthropostylar pillars or human figures (usually female ones) employed instead of columns to support an entablature. Such figures ought always to be perfectly free from allattitudinizing, and to appear to support their burden without any effort. Some very matter-of-fact critics object to caryatides as being at the best only beautiful absurdities; as if statues so applied were particularly liable to be mistaken for living persons subjected to a more severe punishment than that of being posted up in a niche, or on the top of a building.
Columniation,68.
Corinthian, or Third Order,53; Lysicrates example,55; Tivoli,65; ‘Composite,’ or Ionico-Corinthian,62.
Cornice.—Doric,21; Ionic,42; Corinthian,61.
Corona.—That part or member of a cornice which projects out over and protects the bed-mouldings (seeBed-Mouldings), and throws off the rain from the rest of the entablature.
Cymatium.—A moulding whose section or profile is convex below and concave above. SeeMouldings.
Dado.—The general plane surface of a pedestal or stylobate between the upper and lower mouldings.
Dentels.—The series of small upright blocks introduced among the bed-mouldings of a cornice. They are supposed to be peculiarly characteristic of the Ionic cornice, but are also employed for the Corinthian one, beneath the modillions, which latter are the principal characteristic of the Corinthian cornice, as dentels alone of the Ionic.
Diameter.—The lower diameter of the column is taken as theproportionalmeasure for all the other parts and members of an Order, for which purpose it is subdivided into 60 parts, called minutes, or into twomodulesof 30 minutes each; but the module is quite an unnecessary distinction, not being, like the diameter, the constant measure of any one member of the Order, and the use of it merely adding to the terms of computation. It is surely much more simple and convenient to write 1·40′, meaning 1 diameter and 40 minutes, than 1d. 1m. 10′. Being proportional measures, diameters and minutes are not fixed ones, like feet and inches, but are variable as to the actual dimensions which they express—larger or smaller, according to the actual size of the diameter of the column. For instance, if the diameter be just 5 feet, a minute, being ¹/₆₀, will be exactly 1 inch; if 2½ feet, the minute will be half an inch; or if the diameter be only one foot, the minute is ¹/₆₀ of a foot, or ⅕ of an inch.
Die.—SeeDado.
Dimensions.—In architectural description, some positive dimensions or approximation to them should always be stated. Such mere epithets aslarge,lofty,spacious, &c., mean nothing,—convey only an exceedingly vague, general idea according to the particular notions of those who employ them; and, like all epithets, they are liable to the most shameful abuse.
Echinus.—A large convex moulding, generally of elliptical or eccentric contour in the Greek style, and forming the quarter of a circle in the Roman. The echinus is the indicial mark of and constitutes the principal portion of the Doric capital, the other being the abacus; at least the term echinus is applied especially to that member of the capital, although in many Greek examples its profile has scarcely any convexity, but more resembles a portion of an inverted cone (18). In Roman and Modern Architecture the echinus is usually called theovolo. SeeMouldings.
Elevationmay be defined to be theupright planof a building, or any part of a building, showing its exact form and dimensions as they actually exist; whereas in perspective the forms are shown not as they exist, or are in themselves, but merely as they appear to the eye, according to the station of the spectator. Elevations are of two kinds, viz.geometricalandperspective. In the former, the whole is projected upon the sameplane, the remote parts are shown of their full size, and distance can be expressed only by shadow thrown upon the second plane by parts in the nearest one; whereas Perspective elevation partakes of parallel perspective, and the parts beyond the first plane are shown diminished by distance, and also come into view, although they may be behind others on the first plane by which they would be concealed in a geometrical representation. For instance, supposing a portico to have a second row of columns in the same axes as those in front, that circumstance would not be at all apparent in a geometrical elevation, but could be understood only by means of the plan, the inner columns being concealed by those before them; but in a perspective elevation they would show themselves, as would also the ceiling and floor.
Entablature.—The horizontal portion of an Order; thetrabeationor system of beams supported by the columns. There may, however, be entablature without columns,—where the latter are suppressed, as on the flanks of anapteraltemple; or omitted entirely, as inastylarbuilding. For the entablatures of the respective Orders, see pages18,41,60.
Entasis.—A slightly convex curvature given in execution to the outline of the shaft of a column, just sufficient to counteract and correct the appearance, or fancied appearance, of curvature in a contrary direction (i. e.concavely), which might else take place and cause the middle of the shaft to appear thinner than it really is. Entasis is therefore nothingpositive: it is not intended to show itself, for were it to do so,—were there to be any visible swelling,—it would be a deformity; yet such deformity has been studiously adopted by many Modern Architects, merely, it would seem, for the sake of making evident that at all events they took pains to guard against an imaginary defect. The subject of entasis has been made one of thosenugæ difficileswhich those who can do nothing else make great parade with. To such, then, be left all such sublimated transcendental niceties. If a column only 30 or 40 feet high would appear thinner in the middle than it really is, unless there made somewhat thicker than it would be were its profile a straight line, the same appearance would take place in any other lofty object, and in a greater degree in proportion to actual height; so that a tower of great loftiness, both positively andproportionally,ought—unless entasis were given it, to look thinner in the middle than at top and bottom. If such appearance really does take place, it is one perfectly in accordance with the laws of vision, therefore no more than a natural and perfectly proper one. In all such cases the judgment corrects the eye, and prevents mistakes. It would, in fact, require a very great stretch of imagination to fancy what we know to be straight, and of the same breadth throughout, is not so: if we can fancy that, we can also fancy that the further end of a building is not so high as the nearer one, and that instead of being horizontal, the cornices slope downwards. So much for the fuss made about entasis, including that about the hypothetical curvature in the horizontal lines of the Parthenon, where curvature was administered, if administered at all, in an exceedingly homœopathic ratio.
Epistylium.—The architrave or horizontal course resting immediately upon the columns. Hence we should denote asEpistylar Arcuationthat system in which columns support arches instead of horizontal architraves and entablatures.See p. 75.
Epitithedas.—A term applied by some writers, by way of distinction, to the cymatium on the sloping orrakingcornices of a pediment, whichsuperimposedmoulding (as its name implies) was frequently largely developed, and enriched with an ornamental pattern.
Fenestration, termed by the GermansFenster-architektur, is, in contradistinction from columniation, the system of construction and mode of design marked by windows. Fenestration and Columniation are so far antagonistic and irreconcileable, that fenestration either interferes with the effect aimed at by columniation with insulated columns, as in a portico or colonnade, or reduces it, as is the case with an engaged Order, to something quite secondary and merely decorative. Astylar and Fenestrated ought, therefore, to be merely convertible terms; but as they are not, we may be allowed to invent that ofcolumnar-fenestrated, to denote that mode of composition which unites fenestration with thesemblance, at least, of the other. Employed as a collective term, Fenestration serves to express the character of a building or design with regard to the windows generally: thus we say, the Fenestration is excellent, or the contrary,—ornate or meagre,—well arranged or too crowded,—which last circumstance is a very common fault, and is destructive both of grandeur and of repose.Si quæris exemplum, circumspice.
Fillet.—Any narrow flat moulding or surface is so termed. Fillets are used either to separate or finish other mouldings. The intervals or spaces between the flutes on the shaft of a column are also called fillets, although not actual members, but merely the surface left between the hollowed channels or flutes themselves.
Fluting.—The collective term for the channels cut on the shafts of columns. Hitherto this has been restricted to little more than two modes, viz. with arrises or sharp ridges, as in the Doric Order (p. 17), or with fillets. A different mode ofstriatingthe shafts of columns is described atpage 39, and many others might easily be devised.
Frieze.—The middle one of the three divisions of an entablature. It derives its name from the ItalianFregio, ornament, as being that part of the entablature especially appropriate for sculptural embellishment, yet, in contradiction to such signification, the frieze is all but invariably made a mere plain surface by Modern Architects; except the Order employed happens to be Doric, and then triglyphs are introduced as matter of course, but the metopes left blank, even though ornateness is studied in other respects, and in parts not comprehended in the Order itself. For the Ionic Order, Modern Architects have sometimes employed the so-calledpulvinatedfrieze (p. 50), that is, one whose face is curved convexly; but upon what principle they have appropriated such form of the frieze to that Order in particular, when it is just as suitable for the Corinthian, is not said, and not to be guessed.
Hypotrachelium.—The necking of a capital introduced between the capital itself and the shaft of the column. In the Grecian Doric, the hypotrachelium is little more than nominal, being marked only by one or more horizontal channels or incisions, and the flutings continued through them; whereas to the Modern Doric capital a distinct necking is given by the astragal which separates the capital from the shaft, and marks its commencement. But that is considered an essential part of the capital, and as to the Corinthian capital it does not admit of any necking; wherefore the Ionic one possesses a great advantage over either of them, inasmuch as it may have a distinct necking or not, and it may be either plain or enriched.
IntercolumnandIntercolumniation.—The subject of Intercolumniation is treated of atpage 77, &c. These two terms are generally confounded together; or rather, the second is very improperly substituted for the other, contrary to all analogy of language and distinctness of meaning. Having only a general collective import,Intercolumniationcan, likeColumniation, be used only in the singular. We may say of a portico, &c., that its intercolumniation is good or poor, close or straggling, but not that it consists of so many intercolumniations (according as the number may be), since such mode of expression is no better than a solecistical vulgarism. We might just as well describe a tetrastyle portico as having fourcolumniations, as say that it has threeintercolumniations.
‘Lysicrates’ Capital,55.
Metope.—The spaces between the triglyphs of the Doric frieze, which in the Parthenon, for instance, were filled in with sculpture; but in modern porticoes that pique themselves upon beingafter the Parthenon, they are mere blanks.
Minute.—The sixtieth part of the diameter of the column as a proportional measure. Minutes are written thus, 10′,i. e.ten minutes.
Modillion.—The small bracket-shaped members or ornaments in the Corinthian cornice are termedmodillions.See page 61.
Module.—The semi-diameter of the column, or 30 minutes. SeeDiameter.
Mouldings.—The principal mouldings and the difference of their profiles in the Grecian and Roman styles are here exhibited.
Monotriglyphic.—That mode of intercolumniation in the Doric Order according to which there is only a single triglyph over each intercolumn,20.
Mutules.—The small blocks or plates attached to the soffit of the corona in the Doric cornice.
Necking.—SeeHypotrachelium.
Ovolo.—SeeEchinus.
Pedestal.—No constituent or essential part of an Order, but merely a casual addition to it,7.
Pedimentanswers to the Gable in Gothic Architecture, &c., it being the vertical triangular plane at the end of a roof which slopes downwards on each side from its ridge. The Pediment differs from the Gable in having atympanum, or clearly defined triangular surface with a horizontal cornice below and two sloping or raking cornices.See page 24.
Pilaster.—Unknown to Greek Architecture, in which only antæ (seeAntæ) were admitted: Pilasters are employed by the Moderns as substitutes for an Order in engaged columns, and are, perhaps, even preferable to the latter, inasmuch as they combine better and more naturally with the wall to which they are attached.
Plan.—A plan may be familiarly described as an architecturalmap, or map of a building: therefore only those who cannot comprehend a geographical or topographical map—a degree of obtuseness hardly credible—can be at any loss to understand an architectural one, the latter being precisely of the same nature as the others, with this difference in its favour, that it is much less conventional. To define it more exactly,—a plan is ahorizontal sectionsupposed to be taken on the level of the floor through the solid parts of the fabric—walls, columns, &c., so as to show their various thicknesses and situations, the dimensions of the several spaces or rooms, the position of the doors by which they communicate with each other, and various particulars that cannot otherwise be explained. Studying buildings without plans is like studying geography without maps. Nevertheless, most persons ignore—affect a genteel ignorance of such vulgar and technical drawings as plans. Plan frequently costs the Architect more study than all the rest of his design. Very much mistaken are they who suppose that convenience alone has chiefly to be considered. Convenience is, of course, or ought to be, made asine quâ non; yet it is not somuch a positive merit in itself, as the want of it is a positive defect. Mere convenience is not an artistic quality: from that to beauty of plan,—to striking combinations, and studied effects, and varied play of arrangement, the distance is very great. A common-place plan is but a very dull uninteresting affair. It is no more than what any builder can accomplish; but a plan replete with imagination, piquant play, and well-imagined contrasts, is no every-day matter.
Podium.—A continued pedestal; a dwarf pedestal wall; a closed parapet employed instead of an open balustrade.
Polystyle.—Having a number of columns. Where columns occur behind columns, as where a portico has inner columns, like that of the Royal Exchange, such portico may be termedpolystyle.
Porch.—Any small portico considerably lower than the main structure to which it is attached may be so termed, in contradistinction from one carried up the height of the building, or as high as the principal cornice.
Portico.—For the different plans and denominations of porticoes,see p. 69.
Profile.—The outline of a series of mouldings, or of any other parts, as shown by a section through them.
Proportion.—The magnitude of one part as compared with some other. The term ‘proportion’ is used absolutely in the sense of ‘good proportion;’ although every thing that has shape has proportions of some kind or other. The subject of Proportions has been greatly mystified by writers who have laid down certain fixed proportions as the best of all on every occasion, and as thene plus ultraof artistic taste. But fixed proportions can be followed mechanically by every one alike; whereas it requires ability to deviate successfully from routine measurement, and apply thepoco piuor thepoco menoas the particular occasion or the particular effect aimed at may require—at least justify. It is the eye that takes cognizance of proportions; and the Architect’s own eye ought to be quite as correct as that of other people.
Prostyle.—A portico which projects from the body of a building, or the rest of a façade.See page 69.
Pulvinated.—A frieze whose face is convex instead of plain is said to bepulvinated, from its supposed resemblance to the side of a cushion, which swells out when pressed upon.See page 50.
Raking Cornices.—A term, rather unmeaning in itself, applied to the inclined cornices on the sloping sides of a pediment.
Rustication.—Although Rustication is not spoken of in this treatise, the term is here inserted for the purpose of remarking that what is so called might frequently be more correctly described asDecorative Masonry, since, so far from expressing rudeness or coarseness, it may be made to display the most studied nicety and elaborate finish. Rustication, no doubt, originated in a very rude mode of construction; but what was at first clumsiness and irregularity, was afterwards refined into an artful and symmetrical disposition of the stones and courses of masonry, by a similar æsthetic process to that which converted the original amorphous stone pillar into the Doric column. To call such masonry, as some have done, onlycicatrizingandgashing, betrays a loss for both arguments and words. Decorative masonry is most assuredly not according to Greek taste or practice; for the Greeks affected to suppress the appearance ofarticulationin masonry, and thereby to give their buildings, as far as possible, the look of not beingfabricated, butcarvedout of one block of solid material. Yet it does not therefore follow that the other mode of decidedly articulating and pronouncing the joints and courses of the stones is bad, because it is an opposite one. So far from being unæsthetic, it possesses much that recommends it artistically, for it givescolour, and produces richness of surface where there would else be blankness. A wall whose face is so decorated forms an admirable ground to columns or pilasters, which it serves to relieve very effectively, as is exemplified in the screen façade of Dover House, that little architectural gem by Holland, which, though by no means faultless, has more of genuine artistic quality than any other building of its time in the whole Metropolis.
Section.—A vertical plan of the interior of a building, showing it as it would appear upon an upright planecutting through it. Though rarely shown, sections are almost as indispensable as plans, like which, they show the thicknesses of the walls; and in addition those of the ceilings and floors; and show alsoheights, both of the rooms themselves, and of doors and windows;—moreover, the forms of the ceilings, whether flat, or coved, or vaulted. In one respect, too, a section partakes of the nature of an elevation, the plane parallel to the line of section being an elevation of the interior, or rather consisting of as many elevations as there are separate rooms or divisions. Sections may be described as eitherfurnishedorunfurnished; the former show only construction and the strictly architectural parts, wherefore, if the side of a room happens to be quite plain, without door, chimney-piece, or other feature, that side or space will be a blank, or little better. Furnished sections, on the contrary, exhibit, besides what strictly belongs to the Architecture and its decoration, mirrors,pictures, statues, furniture, draperies, and all other accessories. The number of sections required depends upon the nature of the plan, and what there is worth showing. If the design be worthy of it, there should be as many sections as will suffice to show every side of every principal apartment; though it may not be necessary to repeat the entire section through every floor. Sections are thedeliciæof architectural illustration, and, it would seem, far too precious to be frequently exhibited.
Soffit.—From the Italiansoffitto, a ceiling; the under surface of any projecting moulding or member.
Style, in the sense of a column (from the Greek στύλος, a column), enters into a great number of useful compound terms referring to matters connected with columniation, and which may here be grouped together, so that any word ending in ‘style’ may be found here, though passed over in its alphabetical order. The number of columns in the front of a pedimented portico is briefly expressed at once by any of the following terms:
As regards Intercolumniation, we have—Pycnostyle—Eustyle—Aræostyle,79.The terms descriptive of the plans and columniation of ancient temples are—Prostyle—Amphiprostyle—Peristyle,69.Also,
As regards Intercolumniation, we have—Pycnostyle—Eustyle—Aræostyle,79.
The terms descriptive of the plans and columniation of ancient temples are—Prostyle—Amphiprostyle—Peristyle,69.
Also,
To which may be added—Heterostyle, composed of different Orders, as where one Order is employed for the centre of a composition, and another for the wings.Macrostyle denotes a large Order, that is, one forming the height of the building.Microstyle, on the contrary, denotes a lesser Order, belonging only to some low division of the building, as for instance, a porch. Thus porticoes aremacrostylar, porchesmicrostylar. In Italian composition, microstylar doors and windows,i. e.doors and windows decorated with small columns, are of frequent occurrence.
To which may be added—
Heterostyle, composed of different Orders, as where one Order is employed for the centre of a composition, and another for the wings.
Macrostyle denotes a large Order, that is, one forming the height of the building.
Microstyle, on the contrary, denotes a lesser Order, belonging only to some low division of the building, as for instance, a porch. Thus porticoes aremacrostylar, porchesmicrostylar. In Italian composition, microstylar doors and windows,i. e.doors and windows decorated with small columns, are of frequent occurrence.
Stylobate.—That part of a structure on which an Order is raised, and on which the columns immediately stand. The term is, however, restricted to what partakes of the character of a pedestal, and not to a mere plinth or socle on the one hand, or to a lower fenestrated floor on the other.
Volute.—The characteristic ornaments and indicial marks of the Ionic capital formed by circumvolving spiral mouldings are termed volutes. The small circle in which the spiral or springs terminate is called theeyeof the volute.
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It is proposed to publish, in 20 Monthly Parts, this very important work, to contain 180 plates and 800 pages of letterpress description of the Public Buildings of London. Each Part will contain 9 plates and 40 pages of text, Price 2s.6d., to be ready for delivery on the Magazine day of each month, beginning with (December 31, 1848) January 1, 1849.
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Manifold as are the publications which represent the various structures of the metropolis, this is the only work which describes them, notad libitum, in views which, even when perfectly correct, show no more than the general aspect and locality of each building from a certain point, and consequently afford no information beyond mere external appearance—but exhibits themarchitecturallyby means of plans, elevations, and occasionally both sections and interior perspective views. Thus a far more complete and correct knowledge may be obtained of each edifice, in its entire arrangement in all its parts and dimensions, than by pictorial views of them.As studies for the Architect, the subjects contained in these volumes strongly recommend themselves,—more particularly so, as of the majority of them no plans and elevations are to be met with in any other publication, which materially enhances the interest of this collection, and it preserves to us authentic and tolerably complete records of many buildings which no longer exist. Among these areCarlton House, illustrated with several plates, including sections, and a plan of the private apartments; the lateEnglish Opera House;Mr. Nash’s Gallery, which has since been dismantled of its embellishments;The Royal Exchange, and theBoard of Trade.Among the new subjects introduced in this new edition will be found:—The New Plan and Elevation of theBritish Museum—New Houses of Parliament—Royal Exchange—Army and Navy Club—New Conservative Club—Reform Club—Museum of Economic Geology—Mansion of the Earl of Ellesmere(Bridgewater House); together with several Plans of Basements, showing kitchens and domestic offices, and conveniences not hitherto given.
Manifold as are the publications which represent the various structures of the metropolis, this is the only work which describes them, notad libitum, in views which, even when perfectly correct, show no more than the general aspect and locality of each building from a certain point, and consequently afford no information beyond mere external appearance—but exhibits themarchitecturallyby means of plans, elevations, and occasionally both sections and interior perspective views. Thus a far more complete and correct knowledge may be obtained of each edifice, in its entire arrangement in all its parts and dimensions, than by pictorial views of them.
As studies for the Architect, the subjects contained in these volumes strongly recommend themselves,—more particularly so, as of the majority of them no plans and elevations are to be met with in any other publication, which materially enhances the interest of this collection, and it preserves to us authentic and tolerably complete records of many buildings which no longer exist. Among these areCarlton House, illustrated with several plates, including sections, and a plan of the private apartments; the lateEnglish Opera House;Mr. Nash’s Gallery, which has since been dismantled of its embellishments;The Royal Exchange, and theBoard of Trade.
Among the new subjects introduced in this new edition will be found:—The New Plan and Elevation of theBritish Museum—New Houses of Parliament—Royal Exchange—Army and Navy Club—New Conservative Club—Reform Club—Museum of Economic Geology—Mansion of the Earl of Ellesmere(Bridgewater House); together with several Plans of Basements, showing kitchens and domestic offices, and conveniences not hitherto given.
List of Plates and short abstract of Subjects.
Adam, R., architect.—All Saints’ Church, Poplar.—All Souls’ Church, Langham Place.—Ancient Theatres.—Astley’s Amphitheatre.Beazley, S., architect.—Berlin, theatre at.—Bordeaux, theatre at.—St. Bride’s Church, Fleet Street; spire, interior, and altar-piece.—Burton, Decimus, architect.Chelsea, church of St. Luke at.—Churches, remarks on galleries in.—Cockerell, C. R., architect.—Colosseum.—Covent Garden, St. Paul’s Church.—Covent Garden Theatre.Dimensions of domes.—Diorama.—Domes, table of dimensions of the principal ones.—Drury Lane Theatre.—Dunstan’s, St., in the East, tower of.—Dunstan’s, St., in the West, Fleet Street.Elmes, Mr., his plan for improving the area around St. Paul’s.—English Opera House.Gallery, Royal, and staircase, House of Lords.—George’s, St., in the East.—George’s, St., Bloomsbury, its steeple.—Gibbs, James, architect.Halls, dimensions of.—Hanover Chapel.—Hardwick, T., architect.—Hawksmoor, Nicholas, architect.—Haymarket Theatre.—Henry the Seventh’s Chapel.—Hosking, Mr.—Hope, Mr.—House of Lords, staircase, and Royal gallery.Inwood, Messrs., architects.James’s, St., Piccadilly.—James’s, St., Theatre.—Jones, Inigo, architect.Knights Templars.—Knights Hospitallers.Law Courts, Westminster.—Lyceum Theatre.Mary, St., Woolnoth, church of.—Mary-le-bone Church, account of.—Mary-le-Bow, St., church, steeple.—Mikhaelov, architect.—Moller, architect.—Monuments, at St. Paul’s.Nash, J., architect.—Newman, J., architect.Opera House, Italian.Paul’s, St., Cathedral; description of the former cathedral; history of the present edifice; description; compared with St. Peter’s; monumental sculpture.—Paul’s, St., Covent Garden.—Peter-le-Poor, St., church of.—Porticoes, remarks on, by J. B. Papworth.—Pugin, A., architect.Ralph, his opinion on St. Stephen’s, Walbrook; St. Paul’s, Covent Garden.—Repton, G. S., architect.—Royal Amphitheatre, Westminster.Savage, James, architect; his justification of the tower of Chelsea Church.—Shaw, J., architect.—Smirke, Sir R., architect.—Soane, Sir J., architect.—Spires, remarks on.—Stephen’s, St., Walbrook.Temple Church, history; monuments; description.—Theatres, remarks on,—Thomond, architect.Walbrook, St. Stephen’s.—Walpole, Horace, his opinion of St. Paul’s, Covent Garden.—Westminster Abbey.—Westminster Hall.—Willement, T., painted window by, in St. Dunstan’s West.—Wilson, E. J., remarks on spires by; description of Westminster Hall.—Wren, Sir Christopher.—Wyatt, Benjamin, architect.
Adam, R., architect.—All Saints’ Church, Poplar.—All Souls’ Church, Langham Place.—Ancient Theatres.—Astley’s Amphitheatre.
Beazley, S., architect.—Berlin, theatre at.—Bordeaux, theatre at.—St. Bride’s Church, Fleet Street; spire, interior, and altar-piece.—Burton, Decimus, architect.
Chelsea, church of St. Luke at.—Churches, remarks on galleries in.—Cockerell, C. R., architect.—Colosseum.—Covent Garden, St. Paul’s Church.—Covent Garden Theatre.
Dimensions of domes.—Diorama.—Domes, table of dimensions of the principal ones.—Drury Lane Theatre.—Dunstan’s, St., in the East, tower of.—Dunstan’s, St., in the West, Fleet Street.
Elmes, Mr., his plan for improving the area around St. Paul’s.—English Opera House.
Gallery, Royal, and staircase, House of Lords.—George’s, St., in the East.—George’s, St., Bloomsbury, its steeple.—Gibbs, James, architect.
Halls, dimensions of.—Hanover Chapel.—Hardwick, T., architect.—Hawksmoor, Nicholas, architect.—Haymarket Theatre.—Henry the Seventh’s Chapel.—Hosking, Mr.—Hope, Mr.—House of Lords, staircase, and Royal gallery.
Inwood, Messrs., architects.
James’s, St., Piccadilly.—James’s, St., Theatre.—Jones, Inigo, architect.
Knights Templars.—Knights Hospitallers.
Law Courts, Westminster.—Lyceum Theatre.
Mary, St., Woolnoth, church of.—Mary-le-bone Church, account of.—Mary-le-Bow, St., church, steeple.—Mikhaelov, architect.—Moller, architect.—Monuments, at St. Paul’s.
Nash, J., architect.—Newman, J., architect.
Opera House, Italian.
Paul’s, St., Cathedral; description of the former cathedral; history of the present edifice; description; compared with St. Peter’s; monumental sculpture.—Paul’s, St., Covent Garden.—Peter-le-Poor, St., church of.—Porticoes, remarks on, by J. B. Papworth.—Pugin, A., architect.
Ralph, his opinion on St. Stephen’s, Walbrook; St. Paul’s, Covent Garden.—Repton, G. S., architect.—Royal Amphitheatre, Westminster.
Savage, James, architect; his justification of the tower of Chelsea Church.—Shaw, J., architect.—Smirke, Sir R., architect.—Soane, Sir J., architect.—Spires, remarks on.—Stephen’s, St., Walbrook.
Temple Church, history; monuments; description.—Theatres, remarks on,—Thomond, architect.
Walbrook, St. Stephen’s.—Walpole, Horace, his opinion of St. Paul’s, Covent Garden.—Westminster Abbey.—Westminster Hall.—Willement, T., painted window by, in St. Dunstan’s West.—Wilson, E. J., remarks on spires by; description of Westminster Hall.—Wren, Sir Christopher.—Wyatt, Benjamin, architect.