The [next figure] is still more indispensable for understanding the conformation of the Ionic capital. ([See page 32].) Here the abacus shows itself only in front at f f, over the two voluted faces, the rest being concealed by the baluster sides b b of the capital, which extend beyond the abacus, and convert the general plan into more than a square. Although the channels and other details of the baluster sides are omitted, and only their general shape shown, the engraving explains how those sides are reduced ([p. 33]) by being hollowed out or curved concavely on the plan.
In the next, or Corinthian Order, a similar curvature is given to the abacus itself on all its four sides; the capital of this Third Order having that in common with the First one, that it is quite regular. One great point of difference between the Doric and Corinthian abacus is, that in the former the angles are unsupported, and overhang the circular body of the capital, while in the Corinthian they are extended outwards diagonally, as a a a a in the figure, and supported by the caulicoli or small volutes, which they in turn serve to cover. The letters f f f f indicate the rosettes or flowers on the four faces of the abacus.
Æsthetics—Æsthetic.—A modern architectural writer condemns these terms as ‘silly and pedantic’ ones that have ‘lately come into use in the Arts,’ and as ‘useless additions to the nomenclature’ and language of art-criticism. In what respect ‘Æsthetics’ is at all more pedantic than ‘Optics,’ ‘Mathematics,’ ‘Physics,’ and other words of a similar class now familiar to English ears,—although they are all of them essentially Greek,—or more pedantic than a great many architectural terms which are not only Greek but altogether technical, it is not easy to divine; while as to silliness, there seems to be far greater silliness in rejecting, or objecting to, than in adopting terms which are not only highly expressive and convenient, but have found their way into every European language, from that of Russia to that of Spain.
The term Æsthetics implies the perception and the study of those qualities which constitute the beautiful and artistic, and form the finer essence of all productions of Fine Art. It carries with it, therefore, a more exact and philosophic meaning than the word Taste. In its adjective form, in which it more frequently occurs, it is particularly useful, as no adequate epithet can be substituted for ‘Æsthetic.’ Thus we speak of the ‘æsthetic sense,’ of ‘æsthetic feeling,’ or ‘study,’ or ‘principles,’ &c.; but we cannot say the ‘tasteful sense,’ or ‘tasteful study.’ As to the species of study just alluded to, no term may be required to designate it, because study of the kind is generally dispensed with for Architecture, an historical and technical knowledge of it being deemed sufficient, without any acquaintance with those comprehensive æsthetic principles of the Art which can guide us where technical rules stop short, and mere rules abandon us to error or to doubt.
Antæ, Doric, [22].
————, Ionic, [40].
Antefixæ.—Called by some, Greek Tiles,—upright ornamental blocks placed at intervals on the cornice along the side of a roof, to conceal or rather terminate the ridges formed by the overlapping of the roof tiles.
Aræostyle.—The widest mode of intercolumniation, [78].