(Gr. ἀρχή, chief; and Lat. trās, a beam), the chief beam—that part of the entablature which rests immediately on the heads of the columns, and is surmounted by the frieze; it is also called the epistylum or epistyle. Plate LXVI fig. 1. The moulded enrichment on the sides and head of a door or window is called an architrave.

ARCHIVOLT. This term is a contraction of the Italian

1 Those marked thus + are either entirely, or almost entirely, peculiar to Pointed Architecture. ARCHITECTURE

It is applied to the architrave moulding on the face of an arch, and following its contour.

ARRIS, the sharp edge or angle in which two sides or surfaces meet.

ASTRAGAL (Gr. ἀστραγάλος; a vertebral joint), a convex moulding. This term is generally applied to small mouldings, and torus to large ones of the same form. (See TORUS.)

ATTIC, a low story above an entablature, or above a cornice which limits the height of the main part of an elevation. The etymology of this term is unsettled: probably the upper range of columns in a Greek hypereithral temple (see Plate LVII. fig. 1) was called arxos, from having no coherent wall; whence the Latin atticum, and its application to a story superimposing the general ordinance. Otherwise such a thing is unknown in Greek architecture; but it is very common in both Roman and Italian practice. What is here termed the tholobate in St Peter's and St Paul's cathedrals are generally termed attics.

BALUSTER, a small column or pier supporting the coping in a pierced parapet: the parapet itself when pierced is hence called a balustrade.

BAND or TENIA, nearly synonymous with Fillet, q. v. This term is, however, most generally applied to that listel in the Doric entablature which separates the frieze from the architrave, and connects the lower parts of the triglyphs.

BASE (Gr. βάσις, from the verb to bear). The congeries of mouldings generally placed under the shaft of an Ionic or Corinthian column is called its base. Plate LXVI. fig. 1. The term is applied also to the lowest part of a pedestal or stylobate; to the vertical moulded fittings which go round walls on the floor; and generally to every thing that is put lowest, for any thing to rest on.

BATTER (Fr. battre, to beat). Building over in projecting courses, like inverted steps, is termed battering, beating, or corbelling over.

BATTLEMENT, a pierced or machicolated parapet.

BAY. The space between the mullions of a window, between piers, and between the principal beams of a roof, floor, or ceiling, is a bay.

BEAD, a small cylindrical moulding of frequent use. Plate LXI.

BED-MOULD, the congeries of mouldings which is under the projecting part of almost every cornice, and of which indeed it is a part. Plate LXVI. fig. 1.

BLOCKING-COURSE, a deep but slightly projecting course in an elevation, to act as cornice to an arcade, or to separate a basement from a superior story. (See STRING-COURSE.)

BOSS, a sculptured knob which is placed on the intersections of ribs in groined ceilings.

BUTTRESS, the projected piers against the angles of towers, and against the ordinary piers of walls, to strengthen them, and receive the outward thrust of the inner transverse arches.

CABLING. The flutes of columns are said to be cabled when they are partly occupied by solid convex masses, or appear to be refilled with cylinders after they had been formed.

CANOPY, a covering or hood, the enriched projecting head to a niche or tabernacle. The tablet or drip-stone, whether straight or circular, over the heads of doors or windows, if enriched, is called a canopy.

CAPITAL, CAP (Gr. καπίς, the head), the spreading, moulded, voluted, foliate, or otherwise enriched head of a column. Plate LXVI. fig. 1. The term cap is applied, in contradistinction, to the congeries of mouldings which forms the head of a pier or pilaster.

CARYATIDES. Human female figures used as piers, columns, or supports, are called Caryatides; and, adjectively, Caryatic is applied to the human figure generally, when used in the manner of Caryatides. Plate LX. fig. 4 and 6.

CASOON (Ital.), a deep panel or coffer in a soffit or ceiling. This term is often written, after the French caisson, whereas we derive it directly from the Italian cassone, the augmentative of cassa, a chest or coffer.

CAVETTO (Gr. καβέττος, a perpendicular line). The eye of the volute is so termed because its position is determined, in an Ionic or voluted capital, by a line let down from the point in which the volute generates.

CAULICULUS (Lat. a stalk or stem), the inner scrolls or tendrils of the Corinthian capital are called Cauliculi. It is not uncommon, however, to apply this term to the larger scrolls or volutes of the same also. Plate LXVI. fig. 1.

CAVETTO (Ital. cavare, to dig out), a moulding whose form is a simple concave, and impending. Plate LXI.

CELLA (Lat.), the cell or interior of a Cleithral temple. The Greek term is Naos, q. v.

CHAMFER. An edge or arris taken off equally on the two sides which form it, leaves what is called a chamfer, or a chamfered edge. If the arris be taken off more on one side than the other, it is said to be splayed or bevelled.

CINQUEFOIL, tracery in five foliations or featherings. The windows in the towers of Westminster Hall, Plate LXXV., are cinquefoiled.

CLEITHRAL (vide CLEITHROS). This is used of a covered Greek temple, in contradistinction to Hypethral, which designates one that is uncovered.

CLEITHROS (Gr. κλείθρος, an inclosed or shut up place). A temple whose roof completely covers or incloses it is a Cleithros. Plate LVIII. fig. 1, 2, 3; and Plate LIX. fig. 1, 2, 3, and 4.

COFFER, a deep panel in a ceiling.

COLUMN (Lat. columna), a tapering cylindrical mass, placed vertically on a level stylobate, in some cases with a spreading congeries of mouldings called a base, and having always at its upper and smaller end a dilating mass called a capital. Columns are either insulated or attached. They are said to be attached or engaged when they form part of a wall, projecting one half or more, but not the whole of their substance. Plate LIX. fig. 1 exhibits insulated, and fig. 2 attached columns. See also Plate LXVI. fig. 1.

CONSOL or CONSOLE, a bracket or truss, generally with scrolls, or volutes, at the two ends, of unequal size and contrasted, but connected by a flowing line from the back of the upper one to the inner convolving face of the lower.

COPING, the covering course or cornice of a wall or parapet. The term coping is generally applied to a plain, slightly projected, covering course, and cornice to a larger moulded coping.

CORBEL, a knob, boss, or consol, projecting from a vertical face, to act as a prop or support. Its jutting or overhanging has induced the application of the term to describe the projection of one thing over another.

CORNICHE (Gr. κόρνιξ, the highest part, that which is placed last on a building), the highest part of an entablature—that which rests on the frieze. Plate LXVI. fig. 1. The term cornice is very generally applied to any bold congeries of mouldings occupying the highest place in a composition, whether external or internal. A plain covering to a wall or parapet is called a coping, q.v.

**Corona (vide Cornice).** This term is applied to the deep vertical face of the projected part of the cornice between the bed-mould and the covering mouldings. Plate LXVI. fig. 1.

† **Crocket** (probably from the old English word *crok*, a curl), an ornament of foliage or animals running up the back of a pediment, arch, pinnacle, or spire, from the corbels below to the finial above, in which latter the crockets on both sides appear to merge. Plate LXXV. fig. 3 and 5. In the earlier examples the crocket is a mere curl, or bent tendril, with an enriched end.

**Cupola** (Ital. *cupo*, concave, profound), a spherical or spheroidal covering to a building, or to any part of it. Plate LXIV. fig. 2, 3, and 4; Plate LIX.; and Plate LXXIV. fig. 2.

† **Cuse** (Lat. *cuspis*, a spear), the points in which the foliations of tracery finish. These are sometimes themselves enriched, and are sometimes plain.

**Cyclostylar** (Gr. *κυκλος*, a circle, and *στυλος*, a column). A structure composed of a circular range of columns without a core is cyclostylar, for with a core the range would be a peristyle. This is the species of edifice falsely called by Vitruvius Monopteral. (See Monopteros.)

**Cyma** (Gr. *κυμα*, a wave), the name of a moulding of very frequent use. It is a simple, waved line, concave at one end and convex at the other, like an Italic f. In that manner it is called a cyma-recta; but if the convexity appear above, and the concavity below on the right hand, it is then a cyma-reversa. Plate LXI.

**Cykostyle** (Gr. *κυκλος*, convex, and *στυλος*, a column), a circular projecting portico. Such are those to the transept entrances to St Paul's cathedral, Plate LXIX. fig. 1.

**Dado or Die**, the vertical face of an insulated pedestal, between the base and cornice or surbase. It is extended also to the similar part of all stereobates which are arranged like pedestals in Roman and Italian architecture.

**Decastyle** (Gr. *δεκα*, ten, and *στυλος*, a column), a portico of ten columns in front. (See note to the term Hexastyle.) The portico to the London University is of this description; more particularly described, it is deca-prostyle and recessed.

**Dentil** (Lat. *dens*, a tooth). The cogged or toothed member, so common in the bed-mould of a Corinthian entablature, is said to be dentilled; and each cog or tooth is called a dentil. Plate LXVI. fig. 1.

**Design.** Architects apply this term to what is vulgarly called a plan, intending by it the scheme or design of a building in all its parts, the term *plan* having a distinct application to a technical portion of the design. (See Plan.) The plans, elevations, sections, and whatever other drawings may be necessary for an edifice, exhibit the design.

**Detail.** As used by architects, detail means the smaller parts into which a composition may be divided. It is applied generally to mouldings and other enrichments, and again to their minutiae.

**Diameter** (superior and inferior). The greater diameter of the shaft of a column is technically termed its inferior, because it is that of the lower end; and the lesser, that of the upper end, its superior diameter.

**Diastyle** (Gr. *δια*, through, and *στυλος*, a column), a spacious intercolumniation, to which three diameters are assigned. (Vide Eustyle.)

**Dipteral.** (See Dipteros.)

**Dipteros** (Gr. *διπτερος*, twice, and *στυλος*, a wing), a double Glosa winged temple. The Greeks are said to have constructed temples with two ranges of columns all round, which were called dipteroi. A portico projecting two columns and their interspaces is of dipteral or pseudodipteral arrangement. See description of fig. 3, Plate LVIII. page 472.

**Distyle** (Gr. *διστυλος*, twice, and *στυλος*, a column), a portico of two columns. This term is not generally applied to the mere porch with two columns, but to describe a portico with two columns in antis. The elevation of the pronaos of the hexastyle peripteral temple, Plate LVIII. fig. 2, exhibits an example of distyle in antis.

**Ditriglyph** (Gr. *διτριγλυφος*, twice, and triglyph, q.v.), an intercolumniation in the Doric order, of two triglyphs. (See Monotriglyph.)

**Dodecastyle** (Gr. *δωδεκα*, twelve, and *στυλος*, a column), a portico of twelve columns in front. (See note to Hexastyle.) There is no portico of this description in London at present. The lower one of the west front of St Paul's Cathedral (Plate LXVIII.) is of twelve columns, but they are coupled, making the arrangement pseudo-dodecastyle. (See Pseudo-Prostyle.) The Chamber of Deputies in Paris has a true dodecastyle.

**Dome** (Gr. *δομα*, a structure of any kind; whence the Latin *domus*, a house or temple), a cupola or inverted cup on a building. The application of this term to its generally received purpose is from the Italian custom of calling an archiepiscopal church, by way of eminence, *Il duomo*, the temple; for to one of that rank, the cathedral of Florence, the cupola was first applied in modern practice. The Italians themselves never call a cupola a dome: it is on this side the Alps the mistake has arisen, from the circumstance, it would appear, that the Italians use the term with reference to those structures whose most distinguishing feature is the cupola, tholus, or (as we now call it) dome. (See Cupola.)

† **Dripstone**, the moulding or cornice which acts as a canopy to doors and windows. Horizontal running mouldings are sometimes called tablets and sometimes dripstones.

**Drops.** (See Guttæ.)

**Echinus** (Gr. *εχινος*, an egg), a moulding of eccentric curve, which (when it is carved) being generally cut into the forms of eggs and anchors alternating, the moulding is called by the name of the more conspicuous. It is the same as Ovalo, q.v.

**Elevation**, the front, or *façade* as the French term it, of a structure. A geometrical drawing of the external upright parts of a building. Architects speak of front, back-front, and side or end elevations.

**Entablature or Intablature** (Lat. *in*, upon, and *tablula*, a tablet). The superimposed horizontal mass in a columnar ordinance, which rests upon the tablet or abacus of a column, is so called. It is conventionally composed of three parts, architrave, frieze, and cornice, q.v. Plate LXVI. fig. 1.

**Entasis** (Gr. *εντασις*, a stretching or swelling). Columns are said to have entasis when they do not diminish regularly, but in a curved line. (See page 461.)

**Epistylum or Epistle** (Gr. *επιστυλος*, upon, and *στυλος*, a column). This term may with propriety be applied to the whole entablature, with which it is synonymous; but it is restricted in use to the architrave or lowest member of the entablature.

**Escape**, a term sometimes used for the apophyge of a column. (See Apophyge.)

**Eustyle** (Gr. *ευ*, well, and *στυλος*, a column), a species of intercolumniation, to which a proportion of two dis- meters and a quarter is assigned. This term, together with the others of similar import,—pycnostyle, systyle, diastyle, and areostyle,—referring to the distances of columns from one another in composition, is from Vitruvius, who assigns to each the space it is to express. It will be seen, however, by reference to them individually, that the words themselves, though perhaps sufficiently applicable, convey no idea of an exactly defined space, and by reference to the columnar structures of the ancients, that no attention was paid by them to such limitations. It follows, then, that the proportions assigned to each are purely conventional, and may or may not be attended to without vitiating the power of applying the terms. Eustyle means the best or most beautiful arrangement; but as the effect of a columnar composition depends on many things besides the diameter of the columns, the same proportioned intercolumniation would look well or ill, according to those other circumstances; so that the limitation of eustyle to two diameters and a quarter is absurd, and so it is in the case of the other similar terms. With Doric intercolumniation it is different, as may be seen by reference to the word Monotriglyph.

Facade. (See Elevation.)

Fascia (Lat. a band). The narrow vertical bands or broad fillets into which the architraves of Corinthian and Ionic entablatures are divided, are called fasciae or fascias; and the term is generally applied to any similar member in architecture.

Featherings. (See Foliations.)

Fillet, a narrow vertical band or listel, of frequent use in congeries of mouldings, to separate and combine them, and also to give breadth and firmness to the upper edge of a crowning cyma or cavetto, as in an external cornice. The narrow slips or breadths between the flutes of Corinthian and Ionic columns are also called fillets.

Finial (Lat. finis, the end). This term is equivalent to the Greek Acroterium. It is applied to the carved apex of pediments, piers, pinnacles, and canopies.

Flute, a concave channel. Columns whose shafts are channelled are said to be fluted, and the flutes are collectively called flutings.

Foliations or Featherings, small arches meeting in points or cusps, which are plain or enriched. They are used as an enrichment in tracery, and are distinguished as trefoils, quatrefoils, and cinquefoils, as the case may be.

Frieze (Ital. fregio, from the Lat. phrygionius, enriched or embroidered), that portion of an entablature between the cornice above and the architrave below. Plate LXVI. fig. 1. It derives its name from being the recipient of the sculptured enrichments either of foliage or figures which may be relevant to the object of the structure. The frieze is also called the zoophorus, q. v.

Frontispiece, the front or principal elevation of a structure. This term, however, is generally restricted in application to a decorated entrance.

Gable. When a roof is not hipped or returned on itself at the ends, its ends are stopped by carrying up the walls under them in the triangular form of the roof itself. This is called the gable, or, indeed, the pediment. The latter term, however, is restricted to the ornamented and ornamented gable; and gable itself is applied to a plain triangular end.

Gradino (Ital. dim. of gradus, a step). Architects frequently use the plural of this term, gradini, and to graduate, instead of the English, steps, and to graduate, perhaps without sufficient reason, though they find them useful to distinguish what they intend from the meaning of the latter words in their ordinary acceptation.

Groining. In vaulting or arching over from insulated piers, the cross vaults meet in angles, and lead to a common centre or apex. This is called groining.

Guilloche or Guilloctos (Gr. γυλος, a member, and σχοινος, a snare). An interlaced ornament like network, used most frequently to enrich the torus. Plate LXI.

Guttae (Lat. drops). The small cylindrical drops used to enrich the mutules and regular of the Doric entablature are so called.

Helix (Gr. ἑλίξ, a wreath or ringlet), used synonymously with Cauliculus, q. v. It forms in the plural Helices.

Hemiglyph (Gr. ἡμιγλύφ, half, and γλύφω, an incision or channel). The half-channels, or rather chamfered edges, of a triglyph tablet, may be so called. The two hemiglyphs are included to make the third channel, and complete the triglyph. (See Triglyph.)

Hexastyle (Gr. ἕξ, six, and στῦλος, a column). A portico of six columns in front is of this description. Most of the churches in London which have porticoes have hexa-prostyles. (See Prostyle.)

Hypethral. (See Hypethros.)

Hypethros (Gr. ὑπό, under, and θέρος, the air), a temple open to the air, or uncovered. The Greeks frequently made the temples of the supreme divinities hypethral. For instance, those of Jupiter Olympus at Agrigentum in Sicily, of Neptune at Paestum, and of Minerva Parthenon at Athens, are all of this description. The term may be the more easily understood by supposing the roof removed from over the nave of a church in which columns or piers go up from the floor to the ceiling, leaving the aisles still covered. In that case it would be hypethral, after the manner of the Greek hypethros. The Pantheon in Rome having an opening in the centre of the dome, is thereby rendered hypethral. See Plates LVII. and LXIV. fig. 4 and 5.

Hypogea (Gr. ὑπό, upon, and γῆ, the earth). Constructions under the surface of the earth, or into the sides of a hill or mountain, are hypogeae.

Hypotrachelium (Gr. ὑπό, upon, and τραχεῖα, the neck), the part forming the junction of the shaft with the capital of a column; the neck of the capital itself. In some styles it is a projecting fillet or moulding, and in others, as the Doric, it is composed of a channel or groove, and sometimes of more than one. Plate LXVI. fig. 1.

Jamb, the side-post or lining of a door-way or other aperture. The jambs of a window outside the frame are called reveals.

Ichnography (Gr. ἰχνογραφία, a footstep or track, and γράφω, a description or representation). A plan, or the representation of the site of an object on a horizontal plane, is its ichnography. The term plan (q. v.) is, however, much more frequently used than this.

The words "in front" are used to prevent the mistake which might arise from a supposition that all the columns in a portico should be counted to designate it. The porticoes of the churches of St Martin in the Fields, and St Mary-le-bone, in London, for instance, have eight columns each, but are hexastyle, there being but six in their front rows. Glossary.

**IMPOST (Lat. impositus, laid upon).** The horizontal courses of mouldings forming the capital of a pier, or edge pilaster, which has to support one leg of an arch, is called the impost; sometimes, and more conveniently, this term is used for the pilaster itself, when its capital is called the impost cap or impost mouldings.

**INTERCOLUMNNIATION (Lat. inter, between, and column, q.v.).** The distance from column to column, the clear space between columns, is called the intercolumniation.

**LABEL,** the level moulding or dripstone over a door or window, common in the later Pointed works. It is generally turned down at the ends at right angles, and slightly returned again horizontally and outwards.

**LACUNAR (Lat.),** a panelled or coffered ceiling or soffit. The panels or cassettes of a ceiling are more classically called lacunaria.

**LANTERN (Lat. lanterna),** a turret raised above a roof or tower, and very much pierced, the better to transmit light. In modern practice this term is generally applied to any raised part in a roof or ceiling, containing vertical windows, but covered in horizontally.

**MITRE (Gr. μίτρα, a middle space),** the square recess between the triglyphs in a Doric frieze. It is sometimes occupied by sculptures. Plates LVII. and LVIII. fig. 4.

**MEZZANINE (Ital. mezzanino, dim. of mezzo, the middle),** a low story between two lofty ones. It is called by the French entresol, or inter-story.

**MODILLION (Lat. modulatus, a measure of proportion),** so called because of its arrangement in regulated distances; the enriched block or horizontal bracket generally found under the cornice of the Corinthian entablature. Plate LXVI. fig. 1. Less ornamented, it is sometimes used in the Ionic. See also MUTULE.

**MODULE (Lat. modulus, a measure or rule).** This is a term which has been generally used by architects in determining the relative proportions of the various parts of a columnar ordinance. The semidiameter of the column is the module, which being divided into thirty parts called minutes, any part of the composition is said to be of so many modules and minutes, or minutes alone, in height, breadth, or projection. The whole diameter is now generally preferred as a modus, it being a better rule of proportion than its half.

**MONOPTERAL.** (See MONOPTEROS.)

**MONOPTEROS (Gr. μονός, one, or single, and ἀπέσις, a wing).** This term is incorrectly used by Vitruvius to describe a temple composed of a circular range of columns supporting a tholos, cupola, or dome, but without walls. (See PERIPTERAL.) Such an edifice would be more correctly designated as Cyclostylist, q.v.

**MONOTRIGLYPH (Gr. μονός, one, or single, and tríglyph, q.v.).** The intercolumniations of the Doric order are determined by the number of triglyphs which intervene, instead of the number of diameters of the column, as in other cases; and this term designates the ordinary intercolumniation of one triglyph. Plate LVIII. fig. 1.

**MOULDINGS,** eccentric curves of various kinds, intended to enrich and ornament, by producing light and shade, and obviating the monotony attendant on many flat and angular surfaces. They may be variously carved to increase their efficiency. The most usual forms of mouldings are called the cyma-recta and reversa, cavetto, scotia, torus, astragal or bead, and the echinus or ovolo, q.v. Plate LXI. In Pointed architecture, mouldings are not limited either to those names or to the forms they are intended to designate, nor indeed is any other style, except by absurd custom and authority.

**MULLION,** the columnar vertical bar used to divide a window into breadths; the trunk out of which tracery flows.

**MUTULE (Lat. mutulus, a stay or bracket),** the rectangular impending blocks under the corona of the Doric cornice, from which guttae or drops depend. Mutule is equivalent to modillion, but the latter term is applied more particularly to enriched blocks or brackets, such as those of Ionic and Corinthian entablatures.

**NAOS (Gr. ναός, a temple).** This term is sometimes used instead of the Latin Cella, as applied to the interior; strictly, however, it means the body of the edifice itself, and not merely its interior or cell.

**NEWEL,** the solid or hollow column or cylinder which bears up the handrail of a staircase at the foot and in the most material parts. It means also the core or hollow, as the case may be, about which a circular staircase winds.

**NICHE,** a concave recess in a wall, with a straight or circular head. Niches are generally made to receive statues, vases, &c.

**OCTASTYLE (Gr. ὀκτώ, eight, and στῦλος, a column).** A portico of eight columns in front. (See note to HEXASTYLE.) There is no portico in London of this description at present, though the upper one of the west front of St Paul's (Plate LXVIII.) is of eight columns; but they are coupled, making the arrangement tetrastyle. It may indeed be called a pseudo-octa-prostyle. (See PSEUDO-PROSTYLE.)

**OGEE,** the vulgar name for the Cyma, q.v.

**OPISTHODOMUS (Gr. ὄπισθος, behind, and δῶμα, a house or other edifice),** the part behind a Greek temple corresponding with the Pronaos before it. (See PRONAOI.)

**ORDER.** A column with its entablature and stylobate is so called. (Plate LXVI. fig. 1.) The term is the result of the dogmatic laws deduced from the writings of Vitruvius, and has been exclusively applied to those arrangements which they were thought to warrant.

**ORDINANCE,** a composition of some particular order or style. It need not, however, be restricted to a columnar composition, for it will apply to any species which is subjected to conventional rules for its arrangement.

**ORTHOGRAPIHY (Gr. ὀρθός, straight or true, and γράφειν, a description or representation).** A geometrical elevation of a building or other object, in which it is represented as it actually exists, or may exist, and not perspectively, or as it would appear, is called its orthography.

**ORTHOSTYLE (Gr. ὀρθός, straight or true, and στῦλος, a column),** any straight range of columns. This is a term suggested to designate what is generally but improperly called a peristyle, q.v.; that is, columns in a straight row or range, but not forming a portico.

**OVATO (Ital.),** egg-formed (see ECHINUS). This is the name most commonly applied to the moulding which appears to have originated in the moulded head of the Doric column, and, with an abacus, forming its capital.

**PANEL,** a compartment with raised margins, moulded or otherwise. Deep panels in a ceiling are called Cassons and Lacunaria, q.v.

**PARAPET (Ital. parapetto, against the breast, or breast-high),** the low breast-high wall which is used to front terraces and balconies, to flank bridges, &c. The most common application of the term in this country is to so much of the external walls of a house as stands above the level gutters of the roof behind.

**PARASTAS (Gr. παράστασις, standing before),** an ante or end pilaster. This is the Greek term for which the Latin antae is generally used, and it has the same meaning. (See ANTE.) PEDESTAL (Gr. πόδις, a foot, and στύλος, a column). An insulated stylobate is for the most part so called. The term is, moreover, generally applied to any parallelogramic or cylindrical mass used as the basement of any single object, as a statue or vase.

PEDIMENT; that part of a portico which rises above its entablature to cover the end of the roof, whose triangular form it takes. The cornice of the entablature, or its corona and part of the bed-mould only, with the addition of a cymatium, bounds its inclined sides, and joins in an obtuse angle at the apex. In Pointed architecture, however, the angle of a pediment is for the most part acute.

PENDENT (Lat. pendens, hanging). In some of the later works of the Pointed style, large masses depend from enriched ceilings, and appear to be formed by the other legs of intersecting arches: these are called pendants. They also occur in canopies. See Plate LXXV. fig. 1, 8, 9, 11, and 12.

PERIBOLUS (Gr. περίβολος, around or about, and ὁρμή, to gird or throw around), an inclosure. Any inclosed space is a peribolus; but the term is applied more particularly to the sacred inclosure about a temple. The wall forming the inclosure is also called the peribolus.

PERIPERIAL. (See PERIPTEROS.)

PERIPTEROS (Gr. περίπτερος, around or about, and πτέρυξ, a wing). A temple or other structure with the columns of its end, prostyle or porticoes, returned on its sides or wings, and one intercolumniation distant from the walls. Almost all the Doric temples of the Greeks were peripteral. The term is, however, incorrectly applied by Vitruvius to peristyle structures, though it is clear that a perfectly round building, such as he describes to be peripteral, cannot be said to be winged or to have wings.

PERISTYLE, having a peristyle. (See PERISTYLE.)

PERISTYLE (Gr. περίστυλος, around or about, and στῦλος, a column), a range of columns encircling an edifice, such as that which surrounds the cylindrical drum under the cupola of St Paul's. The columns of a Greek peripteral temple form a peristyle also, the former being a circular and the latter a quadrilateral peristyle. The same term is generally but incorrectly applied to a range of columns in almost any situation when they do not form a portico. (See ORTHOSTYLE.)

PIER. The solid parts of a wall between windows, and between openings generally, are called piers. The term is also applied to masses of brickwork or masonry, which are insulated to form supports to gates or to carry arches.

PILASTER (Lat. pilā, a pillar, and the Ital. augmentative astro, which indicates an inferior quality), an inferior sort of column or pillar; a projection from or against a pier, having the form and decorations of an ante, when used correctly; but too frequently they have capitals, like those of columns, assigned them.

PILLAR (Lat. pilā, and Ital. piliere), a columnar mass of no particular form. Columns are vulgarly called pillars; but architects make a distinction, restricting this term to such pillars as do not come within the description of a column. (See COLUMN.)

PILLOWED. A swollen or rounded frieze is said to be pillowed or pulvinated.

PINNACLE, the slender tapering head of a turret or buttress. A small spire, or the head of a spire or steeple.

PLAN, a horizontal geometrical section of the walls of a building; or indications, on a horizontal plane, of the relative positions of the walls and partitions, with the various openings, such as windows and doors,—recesses and projections, as chimneys and chimney-breasts,—columns, pilasters, &c. This term is often incorrectly used in the sense of Design, q. v.

PLANCHE is sometimes used in the same sense as soffit, but incorrectly, as it is from the French planche, to board or floor. It is more particularly applied to the soffit of the corona in a cornice.

PLINTH (Gr. πλίνθος, a square tile). In the Roman orders the lowest member of the base of a column is square and vertically faced; this is called a plinth.

POLYTRIGLYPH (Gr. πολύς, many, and triglyph, q. v.). An intercolumniation in the Doric order of more than two triglyphs. (See MONOTRIGLYPH and DITRIGLYPH.)

PORTICO (an Italicism of the Lat. Porticus), an open space before the door or other entrance to any building, fronted with columns. A portico is distinguished as prostyle, or in antis, as it may project from or recede within the building, and is designated with either of these terms by the number of columns its front may consist of. (See DISTYLE, TETRASTYLE, HEXASTYLE, OCTASTYLE, &c.)

PORTICUS (Lat. See PORTICO). In an amphiprostylar or peripteral temple, this term is used to distinguish the portico at the entrance from that behind, which is called the posticum.

POSTICUM (Lat.). A portico behind a temple. (See PORTICUS and PORTICO.)

PRONAOS (Gr. πρόναος, before, and ναός, a temple). The inner portico of a temple, or the space between the porticus, or outer portico, and the door opening into the cella. This is a conventional use of the term; for, strictly, the pronaos is the portico itself.

PROPYLEUM (Gr. πρόπυλον, before, and πύλη, a portal), any structure or structures forming the entrance to the peribolus of a temple; also the space lying between the entrance and the temple. In common usage this term, in the plural (propylaea), is almost restricted to the entrance to the Acropolis of Athens, which is known by it as a name.

PROSTYLE (Gr. πρό, before, and στῦλος, a column). A portico in which the columns project from the building to which it is attached is called a prostyle. It is tautologous to say a prostyle portico,—a prostyle is a portico. Custom, however, seems to warrant the impropriety, for the word portico is always superadded. In determining the number of columns of which a portico consists, the Greek numerals are prefixed to the term Style, q. v., and prostyle is repeated. It would be more concise, and, at the least, equally correct, to put the numeral before prostyle, and say tetra-prostyle, hexa-prostyle, &c. instead of tetrastyle-prostyle, &c.; as the custom is; that mode is adopted in this article throughout.

PSUEDO-DIPTERAL (Gr. ψευδής, false, and dipteral, q. v.), false double-winged. When the inner row of columns of a dipteral arrangement is omitted, and the space from the wall of the building to the columns is preserved of the consequent double projection, it is pseudodipteral. The portico of the London University is pseudo-dipterally arranged, the returning columns on the ends or sides not being carried through behind those in front.

PSUEDO-PERIPERIAL (Gr. ψευδής, false, and peripteral, q. v.), false-winged. A temple having the columns on its flanks attached to the walls, instead of being arranged as in a peripteros, is said to be pseudo-peripteral.

PSUEDO-PROSTYLE (Gr. ψευδής, false, and prostyle, q. v.). This is a term not in general use, but is suggested to designate a portico projecting less than the space from one column to another, as the western porticoes to St Paul's Cathedral, and the portico to the East India House, in London; but that they are recessed also, and therefore may be described as pseudo-prostyle and recessed. The front of Trinity Church in the new road, near the Regent's Park, in London also, presents a mere pseudo-prostyle.

**Pulvinated** (Lat. *pulvinus*, a cushion or bolster), a term used to express the swelling or bolstering of the frieze which is found in some of the inferior works of the Roman school, and is common in Italian practice. It is used indifferently with pillowed.

**Pycnostyle** (Gr. *πυκνός*, dense, and *στύλος*, a column), columns thickly set. The space or intercolumniation assigned to this term is one diameter and a half. (See Eustyle.)

† **Quatre-foil**, tracery in four foliations or featherings; but applicable only to circular or square panels, and not to arches.

**Quoin** (Lat. *ancon*, an elbow or corner, whence the Fr. *coin*), a corner-stone. The stones which are made to project from the regular surface of the walls at the angles of a building are technically called quoins. The front of the Farnese Palace exemplifies them. (See Plate LXX.)

**Regula** (Lat.), a rule or square. The short fillet or rectangular block, under the taenia, on the architrave of the Doric entablature, is so called.

† **Rose** or **Catherine-wheel Window**, the large circular window filled with various tracery, which is common in the upper part of transept fronts in churches and cathedrals. Plate LXII. fig. 1.

**Scotia** (Gr. *σκοτία*, shadow or darkness), a concave moulding, most commonly used in bases, which projects a deeper shadow on itself than any other form would possess in an underview position. It is like a reversed ovalo, or rather what the mould of an ovalo would present. Plate LXI.

**Scroll**, synonymous with volute. The term scroll is commonly applied to the more ordinary purposes, while volute is generally restricted to the scrolls of the Ionic capital.

**Section**, a drawing showing the internal heights of the various parts of a building. It supposes it to be cut through entirely, so as to exhibit the walls, the heights of the internal doors, and other apertures; the heights of the stories, thicknesses of the floors, &c. It is one of the species of drawings necessary to the exhibition of a Design, q. v.

**Shaft**. The body or tapering cylindrical mass of a column, from the base below to the capital above, is so called. Plate LXVI. fig. 1.

**Sill or Sole** (Lat. *solum*, a threshold, whence the Fr. *seuil*). The horizontal base of a door or window-frame is called its sill, though in practice a technical distinction is made between the inner or wooden base of the window-frame and the stone base on which it rests, the latter being called the sill of the window, and the former that of its frame. This term is not restricted to the bases of apertures; the lower horizontal part of framed partition is called its sill. It is often incorrectly written cill.

**Soffit** (Ital. *soffitto*, a ceiling), the inverted horizontal face of anything. The horizontal face of an entablature resting on, and lying open between, the columns, is its soffit. The underface of an arch, where its thickness is seen, is its soffit.

**Spandrel**. The unoccupied angles, or rather the excluded triangles, of a square, described about a circle, are called spandrels; whence almost any triangular space is designated by the same term.

† **Spire**, the tapering mass which forms the summit of a steeple.

**Steeple**. This term is used in contradistinction to tower, the latter being upright, or nearly so, and terminating almost abruptly, or with pinnacles, and the steeple running to a point with sides converging from the base upwards, or from a certain height only.

**Stele** (Gr. *στήλη*, a cippus or small monument). The ornaments on the ridge of a Greek temple, answering to the antefix on the summit of the flank entablatures, are thus designated.

**Sterebate** (Gr. *στερεός*, firm or solid, and *κάτω*, a base or fulcrum), a basement. It is sought to make a distinction between this term and Stylobate, q. v., by restricting the latter to its real import, and applying stereobate to a basement in the absence of columns.

**Stoa** (Gr. *στοά*, a portico). This is the Greek equivalent for the Latin porticus and the Italo-English portico, q. v.

**String** or **String-course**, a narrow, vertical-faced, and slightly projecting course in an elevation. If window-sills are made continuous, they form a string-course; but if this course is made thicker or deeper than ordinary window-sills, it becomes a blocking-course.

**Style** (Gr. *στύλος*, a column). The term style is of very constant use in the composition of architectural names and distinctions, and in those compositions it is not to be understood in its ordinary and almost unlimited application, but in its simple and original meaning—a column. It is, however, not used in that sense unless in composition; but in its ordinary acceptation it is applied to the varieties of architecture, as the Greek and Roman styles, &c.

**Stylobate** (Gr. *στυλοβάτης*, a column, and *κάτω*, a base or fulcrum), a basement to columns. (See Stereobate.) Stylobate is synonymous with pedestal, but is applied to a continued and unbroken substructure or basement to columns, while the latter term is confined to isolated supports.

**Subbase** (Lat. *super*, whence the Fr. *sur*, above or upon, and *base*, q. v.), an upper base. This term is applied to what, in the fittings of a room, is familiarly called the chair-rail. It is also used to designate the cornice of a pedestal or stereobate, and is separated from the base by the dado or die.

**Systyle** (Gr. *συ*, together with, and *στύλος*, a column), columns rather thickly set. An intercolumniation to which two diameters are assigned. (See Eustyle.)

† **Tabernacle**, a canopied recess or niche. The rich ornamental tracery forming the canopy, &c. to a tabernacle, is called tabernacle-work: it is common in the stalls and screens of cathedrals, and in them is generally open or pierced through.

† **Tablet**. Projecting mouldings, or moulded strings in the Pointed style, are better described as tablets than as cornices.

**Taenia** (Lat.) a band. (See Band.)

**Terminal**. Figures of which the upper parts only, or perhaps the head and shoulders alone, are carved, the rest running into a parallelipiped, and sometimes into a diminishing pedestal, with feet indicated below, or even without them, are called terminal figures.

**Tetraastoon** (Gr. *τέταρτος*, four, and *στοά*, a portico). An atrium or rectangular court-yard, having a colonnade or projected orthostyle on every side, is called a tetraastoon. Tetrastyle (Gr. τετράς, four, and στύλος, a column), a portico of four columns in front. (See note to Hexastyle.)

Tholobate (Gr. θόλος, a dome or cupola, and ξυστός, a base or substructure), that on which a dome or cupola rests. This is a term not in general use, but not the less of useful application. What is generally termed the attic above the peristyle and under the cupola of St Paul's, would be correctly designated the tholobate. A tholobate of a different description, and one to which no other name can well be applied, is the circular substructure to the cupola of the London University.

Tholus or Tholos (Gr.), a dome or cupola, or any round edifice. This is the only term used by Greek writers that can be supposed to apply to the conical chambers which approach, in internal form, to that of the modern cupola or dome, and is therefore made the Greek equivalent for those terms.

Torus (Lat.), a protuberance or swelling, a moulding whose form is convex, and generally nearly approaches a semicircle. It is most frequently used in bases, and is for the most part the lowest moulding in a base.

Plate LXI.

Tower, a circular, square, or polygonal structure, with upright or slightly converging sides, running to a height equal to or greater than its diameter or base, and terminating abruptly or in horizontal lines. A tower may be flanked by buttresses whose pinnacles surmount it, and be superimposed by a turret, lantern, or spire.

Tracery. The transoms, mullions, and interlaced or flowing continuations of the latter, with their foliations in windows, on doors, panels, and in tabernacle-work, are so called. The ribs on groined ceilings, and almost all eccentric moulded enrichments, come under the same denomination.

Trachelium (Gr. τραχεῖον, the neck). In Doric and Ionic columns there is generally a short space intervening the hypotrachelium and the mass of the capital, which may be called the trachelium or neck.

Transom, the horizontal bar used to divide a mullioned window into heights; the straight and horizontal parts of tracery.

Trefoil, tracery in three foliations or featherings.

Triglyph (Gr. τριγλύφος, three, and γλύφειν, an incision or channel). The vertically channelled tablets of the Doric frieze are called triglyphs, because of the three angular channels in them, two perfect and one divided; the two chamfered angles or hemiglyphs being reckoned as one. The square sunk spaces between the triglyphs on a frieze are called metopes.

Turret, a small tower, or a tower of small base in proportion to its height. Turrets are sometimes placed on the angles of towers; but in the later works of the style they are attached to the angles of structures instead of buttresses, and they run up above their height in lieu of pinnacles.

Tympanum, the triangular recessed space inclosed by the cornice which bounds a pediment. The Greeks sometimes placed sculptures representing subjects in connection with the purposes of the edifice, in the tympana of temples.

Vault, an arched ceiling or roof. A vault is, indeed, a laterally conjoined series of arches. The arch of a bridge is, strictly speaking, a vault. Intersecting vaults are said to be groined. (See Groining.)

Volute (Lat. volutum, a volvo, rolling up or over, convolving). The convolved or spiral ornament which forms the characteristic of the Ionic capital is so called. The common English term is scroll, q. e. Volute, scroll, helix, and cauliculus, are used indifferently for the angular horns of the Corinthian capital.

Zoophorus (Gr. ζώων, an animal, and φορέω, to bear). This term is used in the same sense as frieze, and is so called because that part of the entablature is made the receptacle of sculptures which are frequently composed of various animals.

DESCRIPTIONS AND EXPLANATIONS OF THE PLATES.

Plate LIV. The view of the Parthenon in its present state is from an original drawing made on the spot in the year 1821, by Mr W. W. Jenkins. It consequently exhibits the appearance of the splendid ruin before the disasters of the late revolution befell it, as the restored view, under the same aspect, does of the structure in its original state. This is introduced as a frontispiece to the subject, as being an acknowledged master-work of architecture, as well as to enable the reader the better to understand the details of the style of which it is an example, and the composition of that class of structures of which it may be reckoned the principal.

Plate LV. This plate exhibits the varieties of columns and columnar composition which the ancient architecture of various countries presents, and is intended to elucidate their presumed derivation from the single pillar of the earliest records; together with specimens of ancient modes of structure.

Fig. 1 presents an example of the single pillar or stone of memorial, the Monolithon; fig. 2 of the Biliton, the cromlech of the Celtic nations; fig. 3 of the Trilithon, an example afforded by Stonehenge; and fig. 4 exhibits the immediately succeeding arrangement of pillars, with a continuous entablature.

Fig. 5 shows the flank of the portico of the temple at Amada in Nubia, consisting of square piers or pillars as in fig. 4, and a cylindrical column, which is evidently formed of a similar pillar by working off its angles, the abacus and plinth remaining of the same size and form of which the pillars are.

Fig. 6, pillars with a plain entablature as in fig. 4, from the Rhamesseion at Thebes. The statues placed before the pillars most probably gave rise to the use of such figures to support an entablature, which these have the appearance of doing when seen in front.

Fig. 7, an early Egyptian columnar composition, from Thebes also. In this, as in the example at Amada, the square abacus shows the form and size of the original pillar out of which the singular bulbous column has been sculptured.

Fig. 8, piers of one of the cavern temples of Ellora. These likewise exhibit the tendency to the cylindrical form, and may be assumed as an example of the style of architectural columnar composition at the time they were executed.

Fig. 9, ancient Hindoo columnar piers, in the Mokundra Pass, from Colonel Tod's (unpublished) second volume of the Annals of Rajashtan, and by his kind permission. The similarity in character which exists between these and the piers at Ellora in the preceding example, tends to strengthen the remark accompanying them, and affords proof of their contemporaneousness.

Fig. 10, Doric columns and their architrave from the ruins at Corinth, being the earliest known example of their style.

Fig. 11, ancient Persian columns from Persepolis, in front and in profile, the latter showing the mode in which they were probably made to receive an entablature, though a distinguished oriental traveller asserts that the capitals are wrought on the backs in such a manner as to render it improbable that they were ever intended to have any thing placed on them.

Fig. 12, columns in front of the rock sculptures at Mundore, in Marwar, from Colonel Tod's first volume.

Fig. 13, from the ruins of Bheens Chlori, also in the Mokundra pass, from Colonel Tod's unpublished volume. These present another variety of Hindoo columnar composition of early date, though later, it is probable, than the example, fig. 9, supra. Figs. 14 and 16 exhibit the modes of structure described in the text at page 414; and fig. 15 is a view of the entrance to the great pyramid at Memphis from Denon and shows the mode of its structure.

Plate LVI. An example of the Egyptian style, sufficiently explained at pp. 410, 432, et seq.

Plate LVII. A Greek Doric octastyle, peripteral, and hypaethral temple, with the details of the Parthenon. The plan (fig. 3) is that of the Parthenon (vide Plate LIV.) slightly modified, the better to include the class to which it belongs. In the Parthenon the opisthodomus has six columns, as in the pronaos, and not four in antis as here laid down; this, however, exhibits the ordinary mode of arrangement. The internal columns are arranged in this plan as they are generally found in other similar structures; and the pedestal for the statue of the divinity is placed in its most probable position.

Fig. 1 shows part of the flank of the temple and the internal composition of the hypaethral cella with its upper range of columns or attic, of the inner chamber or treasury, and of the opisthodomus and posticum; much of this, however, is necessarily taken at a venture, because of the imperfection of the remains of the Grecian edifices.

Fig. 2 exhibits an elevation of the opisthodomus behind the outer range of the portico, not according to the Parthenon, but in antis.

Fig. 3 is the plan. In front, on the left-hand side, is the entrance porticus; behind this is the pronaos; within the pronaos is the hypaethral naos or cella, the middle space between the columns being open; the spaces between the columns and the walls on either side are covered; doors (these are not generally laid down to the Parthenon, but are assumed as probable) lead to the inner chamber, said to be the treasury,—this is by some called the opisthodomus, into which it opens, and the opisthodomus stands in the same relation to the posticum that the pronaos does to the porticus.

Fig. 4 is the external order of the Parthenon; fig. 5 the profile of its corona to a larger scale, to show its detail; fig. 6 a half-capital of the same, enlarged also with its annulets larger still.

Fig. 9 is the order of the pronaos; fig. 8 the profile of its corona enlarged; fig. 7 its capital enlarged, with the annulets still larger.

Fig. 10 the antre cap enlarged; and fig. 12 a half-plan of a column of the Parthenon, showing the contour of its flutes. (Vide page 437 et seq.)

Plate LVIII. A Greek Doric hexastyle, peripteral, and cleithral temple, with the details of the temple of Theseus at Athens

Fig. 1, front elevation of the temple.

Fig. 2, section behind the outer range of the portico, showing the elevation of the pronaos.

Fig. 3, plan of the temple. The arrangement of the porticus here (to the left) is pseudo-dipteral; a space equal to two intercolumniations and the intervening column being left between the external range and the front of the pronaos,—the projection of the posticum is irregular.

Fig. 4, the external order of the temple of Theseus, with a half-plan of the column; fig. 5, the profile of the corona enlarged; fig. 6, half the capital enlarged; fig. 7, half the capital of the order of the pronaos enlarged also; fig. 9, the antre, with profiles of the outer and inner entablatures of the pronaos,—this shows also the arrangement of the ceilings.

Fig. 10, enlarged profile of the antre cap.

Fig. 11, inverted plan of part of the ceilings of the porticus and pronaos, showing the arrangement of the coffers, hicumar, or cassoons.

Fig. 12, inverted plan of the planceer of the cornice, showing the form and arrangement of the mutules of the external entablature.

Fig. 13 is a plan of the triglyphs of the same on an external angle.

Figs. 8 and 14 are enlarged plans of the flutings of the columns, to show their contours. (Vide p. 437 et seq.)

Plate LIX. A Greek Ionic hexastyle apertal temple, with details of the temple of Erechtheus at Athens.

Fig. 1, elevation of the portico.

Fig. 2, rear elevation of the temple, showing an attached tetrastyle in antis, with windows as they exist in that of the temple of Erechtheus.

Fig. 3, flank elevation. The dotted projection to the right, of the posticum, indicates the amphiprostyle arrangement, which is shown on the plan fig. 4 also, and in the same manner.

Fig. 5, the order of the temple of Erechtheus, except the two lowest steps of the stylobate, which may be easily supplied; to a larger scale, with indications of the carved mouldings, &c.

Figs. 6, 7, and 8 are enlarged profiles of those parts of the entablature which are immediately behind and above them.

Fig. 10, the antre of the same example, showing the ornament which enriches its necking, and runs along the flank of the edifice; fig. 11, profile of the antre cap enlarged.

Fig. 12, flank elevation of the capital; all the vertical beads in this are carved. Fig. 13, transverse section of the capital.

Fig. 14, half the longitudinal section of the capital.

Fig. 15, an inverted plan of the capital, showing the arrangement of the flutings.

Fig. 16, an inverted plan of one of the angular capitals. (Vide p. 439 et seq.)

Fig. 9, the Ionic volute, enlarged to show the mode of striking it, and the contour of its face.

The point at which the volute shall commence, its height, and the diameter of its eye, must be given or assumed; then, "from either end of the whole height of the spiral, cut off the diameter of the given circle (o — o); divide the remainder into as many equal parts as there are to be revolutions in the spiral (this example is of three revolutions), and divide each of those parts again into four others, so that the remainder or difference between the given circle and the height will be divided into four times the number of revolutions (making in this case twelve); then take half the number of these parts and one part more (seven), together with half the diameter of the eye (o — o), and set it from the top of the perpendicular downwards; it will give the centre of the volute; take half of one of the parts, and set it from the centre, cutting the peri- pendicular or height of the volute upwards; through that point draw a horizontal line; take half of one of the parts, and set it on each side of the perpendicular, on the horizontal line; from these two points draw diagonals to the centre (refer to the larger diagram to the right of the volute); through the centre draw another line parallel to the horizontal line; through the upper end of each diagonal draw lines parallel to the perpendicular, cutting the horizontal line that passes through the centre into two equal parts; divide each of those parts into as many equal parts as you intend to have revolutions (three). If the volute is intended to be on the left hand (as this is), divide the part next to the centre on that side into two equal parts, but for the right-hand volute on the contrary; from the point of bisection draw two lines parallel to the diagonals downwards; then through each of the divisions on the line which passes through the centre draw lines parallel to the perpendicular, cutting the diagonals at both ends of these perpendicular lines; then join the opposite points of each diagonal by horizontal lines, and the centres will be completed upon each angle of the fret. Begin at the right hand on the upper centre, extend the compass to the height of the perpendicular, and describe the quadrant of a circle to the left hand; then set the compass on the next centre on the left hand, and extend the other leg of the compass to the end of the quadrant, where you left off in the last quadrant; go the same way round to the next centre, and proceed in this manner till you arrive at the last quadrant, which ought to touch the given circle on the upper side upon the perpendicular. Lastly, with one leg of the compasses on the centre of the spiral, and the other foot extended to the distance that the last quadrant cuts the perpendicular, describe a circle, and the spiral will be completed." (Nicholson's Principles, &c. vol. ii. p. 23.) To complete the volute as in fig. 5, this process should be repeated for every line indicated at the point of springing in fig. 9, the height of course altering to every one but the eye of the volute, and the point of springing remaining the same.

Plate LX. Fig. 1 the elevation, fig. 2 the plan, and fig. 3 the details, of the order of the Choragic Monument of Lysicrates at Athens. (Vide p. 440.)

Fig. 4 presents the elevation, and fig. 5 the plan, of the Caryatic prostyle, which is attached to the flanks of the temple of Erechtheus at Athens.

Fig. 6 shows the detail of the hands and feet of the figure, and of the entablature and stereobate of the same. (Vide p. 441.)

Plate LXI. contains Greek and Roman mouldings, with their usual enrichments, all drawn from ancient examples, and detached profiles of them all, together with two examples of Greek and one of Roman ornament. The specimen of Greek ornament on the left hand of the centre is from the neck of the anta-cap of the tetrastyle portico on the flank of the temple of Erechtheus, generally known as that of Minerva Polias; and the other half of the same is the enrichment of the neck of the anta of the temple of Erechtheus itself, as shown in Plate LXIX, figs. 3 and 10. The Roman specimen of ornament is that of the frieze of the temple of Antoninus and Faustina in Rome. (Vide Plate LXII. Ex. 3, and p. 441 and 451.)

Plate LXII. Four Roman examples of the Corinthian order. Ex. 1 is that of the temple of Jupiter Stator in Rome; Ex. 2 is that of the temple of Vesta at Tivoli (vide Plate LXIV, fig. 9); Ex. 3 is that of the temple of Antoninus and Faustina in Rome (vide Plate LXIV, figs. 6, 7, and 8); and Ex. 4 is the example of the portico of the Pantheon in Rome (vide Plate LXIV, figs. 2, 3, 4, and 5). To every example fig. 1 shows the details enlarged, the shafts being cut away; and fig. 2 the elevation of the column and entablature. In every case, also, the distance from the inner surface of the column fig. 2 to the vertical line dividing the examples is one half the intercolumniation at which that example is composed. (Vide p. 447 et seq.)

Plate LXIII. Examples of the Roman orders. Ex. 1 is the Corinthian of the temple of Mars Ultor; Ex. 2 the Composite of the arch of Titus (vide Plate LXIV, fig. 11); Ex. 3 the Ionic of the temple of Fortuna Virilis (vide Plate LXIV, fig. 12); and Ex. 4 the Doric of the Theatre of Marcellus, completed from that of the Colosseum. All of these are in Rome. Figs. 1, as in Plate LXII., show the entablatures, capitals, and bases, &c. at an enlarged scale; and figs. 2 the complete elevation of each order, except their stylobates, some of which are not ascertained, and those which may be obtained from the structures they are referred to in Plate LXIV. (Vide p. 447 et seq.)

Plate LXIV. Elevations, plans, and sections of sundry Roman edifices, all drawn to the same scale.

Fig. 1 is a longitudinal elevation of the Colosseum. (Vide p. 443.)

Fig. 2 is the front elevation, fig. 3 the flank elevation, fig. 4 a section, and fig. 5 the plan, of the Pantheon. The dotted lines before the recess opposite the entrance, fig. 5, show the places the outstanding columns originally occupied. (Vide p. 443 and 444.)

Fig. 6 is the front elevation, fig. 7 the plan, and fig. 8 the flank elevation, of the temple of Antoninus and Faustina; of this the front steps and stylobate are restorations. (Vide p. 443, and Pl. LXII. Ex. 3.)

Fig. 9 is the plan and elevation of the temple of Vesta at Tivoli; of this the antefixae and roof are restorations. (Vide Pl. LXII. Ex. 2.)

Fig. 10 is the plan and elevation of the triumphal arch of Septimius Severus. (Vide p. 443.)

Fig. 11 is a plan and elevation of the arch of Titus. (Vide ut sup. and Pl. LXIII. Ex. 2.)

Fig. 12 is a plan and elevation of the temple of Fortuna Virilis. (Vide p. 443, and Pl. LXIII. Ex. 3.)

Plate LXV. Plans, sections, elevations, &c. of Roman mansions from Pompeii.

Fig. 1 is a plan of one of the most extensive and most regular of the domestic structures of Pompeii, with its immediate vicinage; it is known as the house of Pansa. The following nomenclature is generally that of Sir William Gell—1, The entrance or recessed porch; 2, the vestibule; 3, the cavaedium or atrium; 4, the com-pluvium or well for receiving the rain from the roof covering this part of the house (vide fig. 2); 5, penaria, or perhaps cubicula; 6, alae or wings; 7, tablinum or parlour; 8, pinacotheca, or perhaps the library; 9, a passage from the first to the second atrium without passing through the tablinum; 10, cubiculum or bed-chamber; 11, peristylum or oecus—the house; 12, im-pluvium (vide sup. in 4, cf. fig. 2); 13, exedrae or alae—in these the siesta was taken—they were also used for conversation; 14, cellae familiares; 15, triclinium—here couches and seats were placed, and company received; 16, lararium or receptacle for the family gods; 17, cubiculum; 18, hall to the gynaeceum or women's apartment; 19, the gynaeceum—this is believed by some to be a distinct house, and not a part of that of Pansa; 20, porticus or pergula; 21, hortus or garden; 22, a passage from the oecus to the pergula and garden, to avoid the necessity of passing through the triclinium; 23, kitchen; 24, store-room or larder; 25, an open court. communicating with the street by a doorway. This comprehends the whole of the apartments, &c., appropriated to domestic use—the residence; the other portions of the edifice are distinct from it: 26 is another smaller house; 27, a passage leading to the house of Pansa from the street on the right-hand side; all the places marked 28 are shops open to the street, as shown in the elevation, fig. 3; the rooms marked 29 are store-rooms to the shops into which they open; 30 is a bake-house, in which the mills, &c., are indicated as they exist; 31 is the oven; in the angle of the two adjoining streets on the left hand (32) is the shop of a seller of wine and hot drinks; 33 is a fountain. The walls indicated on the other sides of the streets surrounding the house, &c., of Pansa are the fronts of shops and of some private houses, &c.

Fig. 2 is a section through the house of Pansa from the street to the garden, showing the manner in which it is probable the roofs, &c., were arranged.

Fig. 3 is the probable elevation of the entrance front of this mansion, though the sketch (fig. 4) of part of the same in its present state shows how slight the evidence for it is.

Fig. 5 is an outline of the side of a room, with the ornaments, &c., with which it is decorated. This is an average specimen; many were much plainer, and some were more enriched.

Fig. 6 is the plan of an ordinary sized house in one of the private streets of Pompeii: the uses of the various parts may be generally gathered from those of the similar portions of the house of Pansa. The word Salve, printed across the threshold, is there wrought in mosaic.

Fig. 7 presents the presumed arrangement of the roofs, &c., of this house in section.

Fig. 8 is the elevation of it towards the street. This absolutely cannot have been better than it appears here, and must have been the ordinary average appearance of the street fronts of Pompeian houses. (Vide p. 445 et seq.)

Plate LXVI. Fig. 1, an example to show how the term order is applied, and to what parts of it the various technical terms are applied, or are intended to indicate.

Figs. 2, 3, 4, 5, and 6, are the orders of the Italo-Vitruvian school as arranged by Palladio; fig. 2, the Tuscan; fig. 3, the Doric; fig. 4, the Ionic; fig. 5, the Corinthian; and fig. 6, the Composite. (Vide p. 451.)

Plate LXVII. Varieties of Italian composition from existing structures in Italy and elsewhere, in the Italian style.

Figs. 1, 2, 3, 4, and 5, are windows of various form and arrangement.

Figs. 6, 7, 8, and 9, are doors of various composition, with plans to show their arrangement and ichnographic projections, &c.

Figs. 10, 11, 12, and 13, are arches and arcades, rusticated and with columns, &c. The plans show their forms and ichnographic projections. (Vide p. 452 et seq.)

Plate LXVIII. Front elevations alone of the fronts of St Paul's in London and St Peter's in Rome. These two structures exhibit many of the peculiarities of the ecclesiastical architecture of the Italian school. In this plate their comparative magnitude has not been attended to; they are drawn to different scales to bring them more nearly of the same size, so as to render the contrast more effective. (Vide p. 426 and 429.)

Plate LIX. Flank elevations of St Peter's and St Paul's, drawn to the same scale; to show their comparative magnitude, and to enable the reader to judge of their respective merits, as well as to elucidate observations which will be found in the text passim. (Vide p. 429, &c.)

Plate LXX. Elevations of three esteemed Italian mansions. The merit of this (the principal) elevation of the Farnese Palace is divided between Antonio Sangallo and M. A. Buonaroti. The villa Giulia, near Rome, is esteemed one of the best works of Giacomo Barozzi da Vignola; and the villa Capra near Vicenza, by Palladio, is, by the admirers of his style, considered the most perfect of his works. (Vide p. 426, 429, 452, 453, &c.)

Plate LXXI. A series of arches in the Gothic and Pointed styles, from various structures in England. It exhibits the advance of the circular arch from the plainness exhibited in figs. 1 and 2, to the richer and more complicated arrangements of those examples which follow, until the ingrafting and gradual advance of the pointed arch. This first appears in fig. 10. Fig. 12 shows the substitution of the latter for the circular of fig. 9 in a similar composition. Fig. 13 exhibits the pointed arch on Gothic pillars or columns; and fig. 14 the perfected pointed arch with the clustered shafts which become identified with the Pointed style. (Vide p. 453 et seq.)

Plate LXXII. The elevation of the south transept of Beverley Minster. This affords a perfect and beautiful example of external composition of the first period of Pointed architecture. The presence of the circular arch embracing the pointed arches of the doorway, and composing with others, shows how gradual the advance of the new style was; the upper part of the front showing also how completely it was already systematized when the circular arch was not yet quite discarded. The plan of this front shows the various ichnographic projections, and the arrangement of the clustered shafts of the doors and windows. Fig. 2 is a niche in front of, and fig. 3 a pinnacle to, one of the buttresses of the nave of the same edifice; these are of the second period. Figs. 4, 5, 6, 7, and 8, are windows from various edifices, showing the gradual advance from the plain lancet arch of the Beverley Minster transept to the arch the most elaborately enriched with tracery. Fig. 4 is but a modification of the composition of the doorways of fig. 1, as that is of figs. 9 and 12, Plate LXXI.; and the advance from that may be almost termed natural.

Plate LXXIII. Fig. 1 is a sectional compartment of the nave of Lincoln Cathedral; it exhibits the mode of internal composition peculiar to the style of the first period; tending, however, to the transition, it will be observed, in many particulars, and as a comparison of it with the adjacent example, of the next period, will more clearly show.

Fig. 2 is a similar sectional compartment of the choir of Lincoln Cathedral, exemplifying the internal composition of the second period of the Pointed style; the plans of the shafts to both examples show their forms and arrangement. The subjects of the three last plates are drawn entirely, by his kind permission, from Mr. Britton's Chronological History of Ecclesiastical Architecture.

Plate LXXIV., the front of York Minster, exemplifies the external composition of the second period, as that of Beverley Minster transept (Plate LXXII., fig. 1) does that of the first period; and the difference will be rendered very clear by comparing them. The upper part of the towers of the front of York Minster, however, it must be remembered (vide p. 456), are of the third period, and so is the central tower which appears in the distance between them.

The front of Pisa Cathedral is here introduced in contrast with that of York Minster, to show the striking difference which exists between the real Gothic architecture of Italy and the Pointed style which superseded it so completely, in this country particularly, and to