Rudimentary Architecture for the Use of Beginners / The Orders and Their Æsthetic Principles

by W. H. Leeds

Elevation may be defined to be the upright plan of a building, or any part of a building, showing its exact form and dimensions as they actually exist; whereas in perspective the forms are shown not as they exist, or are in themselves, but merely as they appear to the eye, according to the station of the spectator. Elevations are of two kinds, viz. geometrical and perspective. In the former, the whole is projected upon the same plane, the remote parts are shown of their full size, and distance can be expressed only by shadow thrown upon the second plane by parts in the nearest one; whereas Perspective elevation partakes of parallel perspective, and the parts beyond the first plane are shown diminished by distance, and also come into view, although they may be behind others on the first plane by which they would be concealed in a geometrical representation. For instance, supposing a portico to have a second row of columns in the same axes as those in front, that circumstance would not be at all apparent in a geometrical elevation, but could be understood only by means of the plan, the inner columns being concealed by those before them; but in a perspective elevation they would show themselves, as would also the ceiling and floor.

Entablature.—The horizontal portion of an Order; the trabeation or system of beams supported by the columns. There may, however, be entablature without columns,—where the latter are suppressed, as on the flanks of an apteral temple; or omitted entirely, as in astylar building. For the entablatures of the respective Orders, see pages [18], [41], [60].

Entasis.—A slightly convex curvature given in execution to the outline of the shaft of a column, just sufficient to counteract and correct the appearance, or fancied appearance, of curvature in a contrary direction (i. e. concavely), which might else take place and cause the middle of the shaft to appear thinner than it really is. Entasis is therefore nothing positive: it is not intended to show itself, for were it to do so,—were there to be any visible swelling,—it would be a deformity; yet such deformity has been studiously adopted by many Modern Architects, merely, it would seem, for the sake of making evident that at all events they took pains to guard against an imaginary defect. The subject of entasis has been made one of those nugæ difficiles which those who can do nothing else make great parade with. To such, then, be left all such sublimated transcendental niceties. If a column only 30 or 40 feet high would appear thinner in the middle than it really is, unless there made somewhat thicker than it would be were its profile a straight line, the same appearance would take place in any other lofty object, and in a greater degree in proportion to actual height; so that a tower of great loftiness, both positively and proportionally, ought—unless entasis were given it, to look thinner in the middle than at top and bottom. If such appearance really does take place, it is one perfectly in accordance with the laws of vision, therefore no more than a natural and perfectly proper one. In all such cases the judgment corrects the eye, and prevents mistakes. It would, in fact, require a very great stretch of imagination to fancy what we know to be straight, and of the same breadth throughout, is not so: if we can fancy that, we can also fancy that the further end of a building is not so high as the nearer one, and that instead of being horizontal, the cornices slope downwards. So much for the fuss made about entasis, including that about the hypothetical curvature in the horizontal lines of the Parthenon, where curvature was administered, if administered at all, in an exceedingly homœopathic ratio.

Epistylium.—The architrave or horizontal course resting immediately upon the columns. Hence we should denote as Epistylar Arcuation that system in which columns support arches instead of horizontal architraves and entablatures. [See p. 75].

Epitithedas.—A term applied by some writers, by way of distinction, to the cymatium on the sloping or raking cornices of a pediment, which superimposed moulding (as its name implies) was frequently largely developed, and enriched with an ornamental pattern.

Fenestration, termed by the Germans Fenster-architektur, is, in contradistinction from columniation, the system of construction and mode of design marked by windows. Fenestration and Columniation are so far antagonistic and irreconcileable, that fenestration either interferes with the effect aimed at by columniation with insulated columns, as in a portico or colonnade, or reduces it, as is the case with an engaged Order, to something quite secondary and merely decorative. Astylar and Fenestrated ought, therefore, to be merely convertible terms; but as they are not, we may be allowed to invent that of columnar-fenestrated, to denote that mode of composition which unites fenestration with the semblance, at least, of the other. Employed as a collective term, Fenestration serves to express the character of a building or design with regard to the windows generally: thus we say, the Fenestration is excellent, or the contrary,—ornate or meagre,—well arranged or too crowded,—which last circumstance is a very common fault, and is destructive both of grandeur and of repose. Si quæris exemplum, circumspice.

Fillet.—Any narrow flat moulding or surface is so termed. Fillets are used either to separate or finish other mouldings. The intervals or spaces between the flutes on the shaft of a column are also called fillets, although not actual members, but merely the surface left between the hollowed channels or flutes themselves.

Fluting.—The collective term for the channels cut on the shafts of columns. Hitherto this has been restricted to little more than two modes, viz. with arrises or sharp ridges, as in the Doric Order ([p. 17]), or with fillets. A different mode of striating the shafts of columns is described at [page 39], and many others might easily be devised.

Frieze.—The middle one of the three divisions of an entablature. It derives its name from the Italian Fregio, ornament, as being that part of the entablature especially appropriate for sculptural embellishment, yet, in contradiction to such signification, the frieze is all but invariably made a mere plain surface by Modern Architects; except the Order employed happens to be Doric, and then triglyphs are introduced as matter of course, but the metopes left blank, even though ornateness is studied in other respects, and in parts not comprehended in the Order itself. For the Ionic Order, Modern Architects have sometimes employed the so-called pulvinated frieze ([p. 50]), that is, one whose face is curved convexly; but upon what principle they have appropriated such form of the frieze to that Order in particular, when it is just as suitable for the Corinthian, is not said, and not to be guessed.

Hypotrachelium.—The necking of a capital introduced between the capital itself and the shaft of the column. In the Grecian Doric, the hypotrachelium is little more than nominal, being marked only by one or more horizontal channels or incisions, and the flutings continued through them; whereas to the Modern Doric capital a distinct necking is given by the astragal which separates the capital from the shaft, and marks its commencement. But that is considered an essential part of the capital, and as to the Corinthian capital it does not admit of any necking; wherefore the Ionic one possesses a great advantage over either of them, inasmuch as it may have a distinct necking or not, and it may be either plain or enriched.