Footnotes:
[1] The species of statue so called, and consisting of the upper part of a human figure growing out of a pedestal which tapers downwards, and appears to enclose the rest of the body.
[2] The necessity for agreement in this respect between the column and its entablature will be rendered apparent by the preposterous effect produced in two instances where the columns have been prolonged to an absurd height without the entablature being deepened in the same degree; namely, the portico of the Admiralty, and that within the court of Furnival’s Inn; the first of which is bad enough, the other far worse in every respect.
[3] For similar reason, the same concavity in the sides of the abacus takes place in the four-faced Ionic capital, the abacus being so shaped in order that it may subtend over and cover the diagonally turned volutes.
[4] We place these examples according to their respective proportional heights, beginning with the highest, and descending to the lowest, and note their measurements in minutes rather than in diameters and fractional parts, as being the most direct and convenient mode of comparison. The height of the capital is taken exclusive of the astragal which divides it from the shaft of the column; and as the expansion of the capital upwards has also to be considered, the extreme width of the abacus is also indicated.
| Height of Captial | Diagonal of Abacus | |
|---|---|---|
| Lysicrates example | 87' | 94' |
| Nerva do. (columns of the Forum of Nerva) | 73' | 90' |
| Pantheon at Rome | 69' | 90' |
| Jupiter Stator, Temple of, | 66' | 97' |
| Tivoli, Temple of the Sibyls, | 60' | 81' |
[5] By way of illustrating these terms more directly by instances taken from well-known modern porticoes which answer to the respective denominations and distinctions above noted, we here give a classified list of some of them:
| Distyle in antis. |  | Two columns |  | Three | St. Paul’s, Covent Garden. | |
| & two antæ. | inter- | |||||
| columns. | | Hanover Chapel, Regent Street. | ||||
| Tetrastyle. | Four columns. | *Covent Garden Theatre. | ||||
| Hexastyle. | Six columns. |  |  | St. George’s Church, Bloomsbury. | ||
| *St. George’s, Hanover Square. | ||||||
| St. Martin’s Church. | ||||||
| Five | *St. Pancras’ Church. | |||||
| inter- | India House. | |||||
| columns. | Post Office. | |||||
| *College of Surgeons. | ||||||
| *College of Physicians. | ||||||
| *Colosseum. | ||||||
| Octastyle. | Eight columns. | | Seven | | National Gallery. | |
| inter- | Royal Exchange. | |||||
| columns. | British Museum. | |||||
| Decastyle. | Ten columns. | | Nine |  | London University College. | |
| inter- | ||||||
| columns. |
The porticoes marked with the * are simple prostyles, or monoprostyle, advancing only a single intercolumn forwarder than the rest of the building; while the others are diprostyle, or show two open intercolumns on their flanks; except Hanover Chapel, whose portico is partly prostyle and partly recessed, and that of the India House, which is entirely recessed, although its elevation is not a composition in antis; had it been such, it would have been a tetrastyle in antis, that and a hexastyle having the same number of intercolumns, viz. five.
[6] Should the reader be quite fresh to the subject, he is recommended to draw out for himself,—merely roughly mark down,—the several dispositions of columns which have been spoken of; for by compelling him to consider them carefully, he will be better able to understand them, and have them distinctly impressed upon his memory. The annexed may serve as a specimen of such short-hand architectural notation, in asterisks.