capitals, from a simple square block, ornamented with hieroglyphics or faces, to an elaborate composition of palm-leaves, not unlike the Corinthian capital. 4. They used a sort of concave entablature, or cornice, composed of vertical flutings, or leaves, and a winged globe in the centre. 5. Pyramids, well known for their prodigious size, and obelisks, composed of a single stone, often exceeding seventy feet in height, are structures peculiarly Egyptian. 6. Statues of enormous size, sphinxes carved in stone, and sculptures in outline of fabulous deities and animals, with innumerable hieroglyphics, are the decorative objects which belong to this style of architecture. The main character of Egyptian architecture is that of great strength with irregularity of taste. This is observable in the pillars of the temples, the parts on which the greatest share of skill has been lavished. The following are examples : In these columns, we may notice that sturdiness is the prevailing characteristic. The design has been the support of a great weight, and that without any particular regard to proportion or elegance either as a whole or in parts. When assembled in rows or groups, the columns had an imposing effect, because, from their height and thickness, they filled the eye and induced the idea of placid and easy endurance. In fig. 5, which represents the exterior of a temple, this simple and imposing character is conspicuous. Fig. 5. GRECIAN STYLE OF ARCHITECTURE. From Egypt, the architectural art spread to Greece, where it passed from the gigantic to the chaste and elegant. The period during which it flourished in the greatest perfection was that of Pericles, about 440 years before Christ, when some of the finest temples at Athens were erected. After this, it declined with other arts, and was carried to Rome, where, however, it never attained the same high character. The Grecian temples were built chiefly of marble, and surrounded or decorated with columns, and had a pleasing effect when situated amidst groves of trees or other kinds of natural scenery; and as they were lighted from the roof, the beauty of the structures was not deformed by formal rows of windows, such as are now common in modern edifices. Before describing the various orders of Grecian and Roman architecture, it will be advantageous to explain the terms ordinarily employed in reference to the component parts of buildings. Explanation of Terms The front or façade of a building, rasde ah ancient models, or any portion of it, may press parts, occupying different heights:-The pedesta lower part, usually supporting a column; the pedestal is wanting in most antique structurs, a place supplied by a stylobate; the stylobate a a platform with steps, or a continuous pedesta porting a row of columns. The lower part of a pedestal is called the plinth; the middle part in t and the upper part the cornice of the pedesta base. The column is the middle part, situated pedestal or stylobate. It is commonly detache the wall, but is sometimes buried in it for ta meter, and is then said to be engaged. P square or flat columns attached to wails I part of a column, when distinct, is called the bas middle, or longest part, is the shaft; and the up. ornamented part, is the capital. The swe column is called the entasis. The height of c is measured in diameters of the column itset.. always at the base. The entablature is the bar. continuous portion which rests upon the top of of columns. The lower part of the entablature the architrate or epistylium. The middle part frieze, which, from its usually containing sculptur, called zophorus by the ancients. The upper of jecting part is the cornice. A pediment is the tri. face produced by the extremity of a roof. The or flat portion enclosed by the cornice of the pes is called the tympanum. Pedestals for statues, on the summit and extremities of a pediment, are. acroteria. An attic is an upper part of a ba terminated at top by a horizontal line instead pediment. The different mouldings in arch." are described from their sections, or from the ;: which they present when cut across. Of the torus is a convex moulding, the section of whe semicircle, or nearly so; the astragal is like the. but smaller; the oralo is convex, but its outline a the quarter of a circle; the echinus resembles the but its outline is spiral, not circular; the s deep concave moulding; the cavetto is also a c and occupying but a quarter of a circle; the c is an undulated moulding, of which the upper p concave and the lower convex; the gee or fal inverted cymatium; the fillet is a small square t moulding. In architectural measurement, a da. means the width of a column at the base. A mod half a diameter. A minute is a sixtieth part of a dian In representing edifices by drawings, architects use of the plan, elevation, section, and perspe The plan is a map or design of a horizontal sur showing the ichnographic projection, or grounds with the relative position of walls, columns, doorsThe elevation is the orthographic projection of ar or vertical surface; this being represented, not as actually seen in perspective, but as it would app seen from an infinite distance. The section show. interior of a building, supposing the part in frust intersecting plane to be removed. The perspec shows the building as it actually appears to the subject to the laws of scenographic perspective. three former are used by architects for purpose. admeasurement; the latter is used also by pai and is capable of bringing more than one side the same view, as the eye actually perceives As the most approved features in modern architec are derived from buildings which are more or ancient, and as many of these buildings are now dilapidated a state to be easily copied, recourse is to such imitative restorations, in drawings and as can be made out from the fragments and ruins t remain. In consequence of the known simplicity regularity of most antique edifices, the task of res tion is less difficult than might be supposed. T groundwork, which is commonly extant, share! length and breadth of the building, with the posit having on their under side a series of square sloping projections, resembling the ends of rafters, and called mutules. These were placed over both triglyphs and metopes, and were ornamented on their under side with circular gutta. The Romans, in adopting the Doric, greatly spoiled its simplicity and grandeur by unduly lengthening the shaft, and making other tasteless alterations. To have a just idea of the Doric, therefore, we must go back to the pure Grecian era. The finest its walls, doors, and columns. A single column, whether | thenon, or temple of Minerva, at Athens. The cornice standing or fallen, and a fragment of the entablature, of the Doric order consisted of a few large mouldings, furnish data from which the remainder of the colonnade, and the height of the main body, can be made out. Grecian temples are well known to have been constructed in the form of an oblong square, or parallelogram, having a colonnade or row of columns without, and a walled cell within. The part of the colonnade which formed the front portico was called the pronaos, and that which formed the back part the posticus. There were, however, various kinds of temples, the styles of which differed; thus, the prostyle had a row of columns at one end only; the amphiprostyle had a row at each end; the peripteral had a row all round, with two inner ones at each end; and the dipteral had a double row all round, with two inner ones at each end, making the front three columns deep. The theatre of the Greeks, which was afterwards copied by the Romans, was built in the form of a horseshoe, being semicircular on one side and square on the other. The semicircular part, which contained the audience, was filled with concentric seats, ascending from the centre to the outside. In the middle, or bottom, was a semicircular floor, called the orchestra. The opposite, or square part, contained the actors. Within this was erected, in front of the audience, a wall, ornammented with columns and sculpture, called the scena. The stage or floor between this part and the orchestra was called the proscenium. Upon this floor was often Prected a moveable wooden stage, called by the Romans vulpitum. The ancient theatre was open to the sky, but a temporary awning was erected to shelter the audience from the sun and rain. Orders. Aided, doubtless, by the examples of Egyptian art, the Greeks gradually improved the style of architecture, and originated those distinctions which are now called the "Orders of Architecture." By this phrase is understood certain modes of proportioning and decorating the column and its entablature. They were in use during the best days of Greece and Rome, for a period of six or seven centuries. They were lost sight of in the dark ages, and again revived by the Italians at the time of the restoration of letters. The Greeks had three orders, called the Doric, Ionic, and Corinthian. These were adopted and modified by the Romans, who also added two others, called the Tuscan and Composite. The Doric order. This is the earliest of the Greek orders, and we see in it a noble simplieity on which subsequent orders were founded. Compared with the best of the Egyptian models, it exhibits a great advance in purity of taste. From the remains of ancient art, it is found that the Doric varied in its proportions. The column, in its examples at Athens, is about six diameters in height; but in those of older date, as those at Pæstum, it is only four or five. One of the most correct examples is that given in fig. 6. The shaft of the Doric column had no base, ornamental or otherwise, but rose directly from the smooth pavement or stylobate. It had twenty flatings, which were superficial, and separated by angular edges. The perpendicular outline was nearly straight. The Doric capital was plain, being formed of a few annulets or rings, a large echinus, and a flat stone at top called the abacus. The architrave was plain; the frieze was intersected by oblong projections called triglyphs, divided into three parts by vertical furrows, and ornamented beneath by gutta, or drops. The spaces between the triglyphs were called melopes, and commonly contained sculptures. The eulptures, representing Centaurs and Lapithæ, carried by Lord Elgin to London, were metopes of the Par Fig. 6. Fig. 7.-Façade of the Parthenon. examples are those of the temple of Theseus, and the Parthenon (fig. 7) at Athens. The Parthenon, which is now a complete ruin, has formed a model in modern architecture. It was built by the architect Ictinus, during the administration of Pericles, and its decorative sculptures are supposed to have been executed under the direction of Phidias. The platform or stylobate consists of three steps, the uppermost of which is 227 feet in length and 101 in breadth. The number of columns is eight in the portico of each front, and seventeen in each flank, besides which there is an inner row of six columns at each end of the cell. The proportional height of the columns is five diameters and 33 minutes, and they diminish thirteen minutes in diameter from bottom to top. The sculpture of the frieze represented the combats of the Centaurs and Lapithee; those of the eastern pediment represented the fabulous birth of Minerva; and those on the western the contests between the goddess and Neptune for the right of presiding over the city. The building was destroyed by the explosion of a bomb-shell, during the siege by the Venetians in 1687. Speaking of these splendid objects of art, a respectable writer observes-"Of their effect it is impossible to form a competent idea without seeing one. And whence, it may be asked, does this interest arise? From their simplicity and harmony; simplicity, in the long unbroken lines which bound their forms, and the breadth and boldness of every part; such as the lines of the entablature and stylobate, the breadth of the corona, of the architrave, of the abaci, of the capitals, and of their ovalos also; in the defined form of the columns, and the breadth of the members of the stylobate; harmony, in the evident fitness of every part to all the rest. The entablature, though massive, is fully upborne by the columns, whose spreading abaci receive it, and transmit the weight downwards by the shafts, which rest on a horizontal and spreading basement; the magnitude of every part being determined by the capacity of the sustaining power. Besides graceful and elegant outline, and simple and harmonious forms, these structures possess a bewitching variety of light and shade, arising from the judicious contour and arrangement of mouldings, every one of which is rendered effective by the fluting of the columns, and the peculiar form of the columnar capital, whose broad square abacus projects a deep shadow on the bold ovalo, which mingles it with reflections, and produces on itself almost every variety. The play of light and shade, again, about the insulated columns, is strongly relieved and corrected by the deep shadows on the walls behind them; and in the fronts, where the inner columns appear, the effect is enchanting. For all the highest effects which architecture is capable of pro ducing, a Greek peripteral temple of the Doric order is perhaps unrivalled." The Ionic order.-In this order the shaft begins to lengthen, and to possess a degree of ornament, but still preserving a great degree of simplicity of outline. In the best examples, as represented in fig. 8, the column was eight or nine diameters in height. It had a base often composed of a torus, a scotia, and a second torus, with intervening fillets. This is called the Attic base. Others were used in different parts of Greece. The capital of this order consisted of two parellel double scrolls, called volutes, occupying opposite sides, and supporting an abacus, which was nearly square, but moulded at its edges. These volutes have been considered as copied from ringlets of hair, or perhaps from the horns of Jupiter Ammon. When a column made the angle of an edifice, its volutes were placed, not upon opposite, but on contiguous sides, each fronting outwards. In this case the volutes interfered with each other at the corner, and were obliged to assume a diagonal direction. The Ionic entablature consisted of an architrave and frieze, which were con-tinuous or unbroken, and a cornice of various successive mouldings, at the lower part of which was often a row of dentels, or square teeth. The examples at Athens of the Ionic order were the temple of Erectheus, and the temple on the Ilissus, both now destroyed. Modern imitations are common in public edifices. Fig. 8. The Corinthian order. This was the lightest and most highly decorated of the Grecian orders. (Fig. 9.) The base of the column resembled that of the Ionic, but was more complicated. The shaft was often ten diameters in height, and was fluted like the Ionic. The capital was shaped like an inverted bell, and covered on the outside with two rows of leaves of the plant acanthus, above which were eight pairs of small volutes. Its abacus was moulded and concave on its sides, and truncated at the corners, with a flower on the centre of each side. The entablature of the Corinthian order resembled that of the Ionic, but was more complicated and ornamented, and had, under the cornice, a row of large oblong projections, bearing a leaf or scroll on their under side, and called modillions. No vestiges of this order are now found in the remains of Corinth, and the most legitimate example at Athens is in the choragic monument of Lysicrates. Corinthian order was much employed in the subsequent structures of Rome and its colonies. The finest Roman example of this order is that of three columns in the Campo Vaccino at Rome, which are commonly considered as the remains of the temple of Jupiter Stator. This example has received the commendation of all modern artists, yet has seldom been executed in its original form. This is probably owing to the excessive richness and delicacy of it, which renders its adoption very expensive; and perhaps the modification of it by Vignola is preferable to the original, possessing a sufficient enrichment without the excessive refinement of the other. In this order the base is one module in height; the shaft sixteen modules twenty minutes; and the capital two modules ten minutes; thus giving ten diameters to the whole column. The architrave and frieze are each one module fifteen minutes in height, The Fig. 9. * Encyclopædia Britannica, article Architecture. and the cornice two modules. The cornice is d guished by modillions interposing between the t. mouldings and corona; the latter is formed by a s.......” member surmounted by a cymatium, supported i small ogee: the former is composed of dentes, ported by a cyma reversa, and covered by the When the order is enriched, which is usually the c these mouldings, excepting the cymatium and ... of the corona, are all sculptured: the column is al fluted, and the channels are sometimes filled to a a third of their height with cablings, which are c drical pieces let into the channels. When the e is large, and near the eye, these are recommends... strengthening them, and rendering the fileta liable to fracture; but when they are not appross it is better to leave the flutes plain. They are times sculptured, but this should only be in h enriched orders. The flutes are twenty-four in number, and com semicircular in their plan. The Corinthian ba similar to that of the Composite order, excepting two astragals are employed between the scotine inst of one; but the Attic is usually employed for the r sons before assigned. "The Corinthian order," says Sir William Char1 "is proper for all buildings where elegance, gaiety, magnificence are required. The ancients empl; in temples dedicated to Venus, to Flora, Prosper and the nymphs of fountains, because the flower. age, and volutes with which it is adorned, seemei adapted to the delicacy and elegance of such d Being the most splendid of all the orders, it is extret proper for the decoration of palaces, public squar galleries and arcades surrounding them; and it count of its rich, gay, and graceful appearance, it with propriety be used in theatres, in ball or ban.ing rooms, and in all places consecrated to f mirth or convivial recreation." Caryatides.-The Greeks sometimes departels from the strict use of the orders as to introduce sta in the place of columns, to support the entab Statues of slaves, heroes, and gods, appear to have employed occasionally for this purpose. The pr specimen of this kind of architecture which rema in a portico called Pandroseum, attached to the ter of Erectheus at Athens, in which statues of Car females, called Caryatides, are substituted for er One of these statues has been carried to London ROMAN STYLE OF ARCHITECTURE. Roman architecture possessed no originality value; it was founded on copies of Greek models, and these were a fied to suit circumstances and tThe number of orders was augur by the addition of the Tuscan and Cposite. l'ig. 10. Tuscan order.This order is n like the Doric, and is chaste ani -gant. As represented in figli shaft had a simple base, ornam with one torus, and an astragal b the capital. The proportions seven diameters in height. Its enta' a ture, somewhat like the Ionic, conse of plain running surfaces. There vestige of this order among ar " ruins, and the modern examples e are taken from the descriptions of truvius. The general effect is stret with simplicity, and the order is en sidered to be well adapted for buildings as prisons, public hal's, " inferior parts of edifices. supposed to have flourished in the time of Julius (288 -Augustus. Ilis treatise on architecture was first printed Venice in 1497. An English translation appeared in 175 A new translation by Wilkins was published in 1812. * Vitruvius was a celebrated writer on architecture, w The Composite order.-Of this there were various kinds, differing less or more either in the ornaments of the column or in the entablature. The simplest of this hybrid order was that which we represent in fig. 11, which may be obed served to combine parts and proportions of the Doric, the Ionic, and the Tuscan. From this handsome modification of previous orders, the Romans advanced to the orna structure is ornamental, and far from inelegant, but it contains much that is tasteless, inasmuch as being without meaning; and there is also an undue overloading of embellishment, or at least frittering away in details. Carrying the eye up the columns, and dissecting their individual bearings, we perceive that each may be resolved into the shafting represented on a larger scale in fig. 14., which is evidently anomalons in design, and inconsistent with the dignified simplicity of the pure Grecian models. The arch of Constantine has been copied at Paris, in the structure erected by Napoleon in front of |