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 (see
_Bed-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. See _Mouldings_.
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
the _proportional_ measure for all the other parts
and members of an Order, for which purpose it is
subdivided into 60 parts, called minutes, or into
two _modules_ of 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.—See _Dado_.
DIMENSIONS.—In architectural description, some positive
dimensions or approximation to them should always
be stated. Such mere epithets as _large_, _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 the _ovolo_. See _Mouldings_.
ELEVATION may be defined to be the _upright plan_ of 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.
_geometrical_ and _perspective_. In the former,
the whole is projected upon the same _plane_, 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; the
_trabeation_ or system of beams supported by the
columns. There may, however, be entablature without
columns,—where the latter are suppressed, as on the
flanks of an _apteral_ temple; or omitted entirely,
as in _astylar_ building. For the entablatures of
the respective Orders, see pages 18, 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 nothing _positive_: 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 those
_nugæ difficiles_ which 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
and proportionally, _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 as _Epistylar Arcuation_ that 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
or _raking_ cornices of a pediment, which
_superimposed_ moulding (as its name implies) was
frequently largely developed, and enriched with an
ornamental pattern.
FENESTRATION, termed by the Germans
_Fenster-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 of
_columnar-fenestrated_, to denote that mode of
composition which unites fenestration with the
_semblance_, 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 of
_striating_ the shafts of columns is described at
page 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 Italian
_Fregio_, 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-called _pulvinated_ frieze (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.
INTERCOLUMN and INTERCOLUMNIATION.—The subject of
Intercolumniation is treated of at page 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,
_Intercolumniation_ can, like _Columniation_, 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
four _columniations_, as say that it has three
_intercolumniations_.
‘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 being _after 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 termed
_modillions_. See page 61.
MODULE.—The semi-diameter of the column, or 30 minutes.
See _Diameter_.
MOULDINGS.—The principal mouldings and the difference
of their profiles in the Grecian and Roman styles
are here exhibited.
[Illustration: Greek. Roman.