If there be not the same completeness with respect to uniformity in all the four sides as is obtained in the Doric and Corinthian capitals, at any rate the most admirable artistic contrivance and propriety are exhibited. The only thing to be objected against the Ionic capital is, that in the end columns of a portico the form of capital just described occasioned obvious if not offensive irregularity, because on the return or side of the building the baluster side showed itself beneath the face of the architrave: yet even this was of little consequence if there was merely a single row of columns in front; but where the colonnade was continued along the flanks of the building also, a very unsightly sort of irregularity was produced; for while all the other columns on those flanks showed the faces of their capitals, the end one would show its baluster side. Here then a difficulty presented itself that demanded some ingenuity to overcome it; and hardly can we sufficiently admire the happy expedient by which it was surmounted. It was necessary to give the capital at the angle two adjoining voluted faces, so that it should agree with those of the other columns both in front and on the flank of the building. This was accordingly effected by placing the volute at the angle, diagonally, so as to obtain there two voluted surfaces placed immediately back to back,—a most happy and simple contrivance, which, now that it has been applied, every one is at liberty to fancy he could have found out for himself. Nevertheless it is not every one that approves of it, for there are some who affect to regard that disposition of the volute at the angle as a defect. If it be strictly considered merely in itself, it may, perhaps, be objected to such capital that in itself it is irregular, one of the volutes in each of its faces being turned obliquely and foreshortened, while the other volute in the same face is seen directly in front, as in all the other capitals. Yet surely such partial and trifling irregularity may very well be excused, instead of being imputed as a defect, since it obviates far greater irregularities, and contributes so effectively to general harmony and symmetry. At all events, it is incumbent upon those who make the objection to show how much better they could have managed matters. So far are we from objecting to it, that we do not see why the same diagonal disposition of the volutes should not, occasionally at least, be employed for all the capitals alike, thereby giving them, although in all other respects perfectly Greek as to style, four uniform faces, as in some of the Roman and Italian examples of the Order.
How little modern Architects are capable of modifying the Ionic capital, and adapting it to particular circumstances, may be seen in the colonnades of the façade of the British Museum, where, at the re-entering or internal angle formed by colonnades at right angles to each other, the column at the angle has two adjoining voluted faces given to it; but as a re-entering or inner angle is circumstanced quite differently from an external one, the consequence is that each of those faces falls opposite the baluster side of the columns ranging with it either way. We explain this briefly in two simple diagrams, in which f indicates the face or voluted side of the capital, and b the baluster side. In an external angle, or the return of a portico, the faces and sides are arranged thus, so that b b b b come opposite each other; but in an internal or re-entering angle, the reverse takes place; for we have then this disposition of the faces and sides of the capitals, in which a voluted face comes opposite to the baluster side of the next capital,—a most unsightly irregularity, and one all the more unpardonable because it could have been got over, if in no other way, by converting that column (a) into a square pillar, which would besides give strength, or the expression of it, where such expression is very desirable.
If these observations on the Ionic capital seem to detain us too long, we cannot help it: they are nothing less than indispensable for a proper understanding of its nature, and the peculiarity of circumstances attending it. What remains to be observed is, that owing to its complexity, that capital admits of very great diversity of character and decoration. It is sometimes without, and sometimes has a necking to it, which may either be plain or decorated, as may best accord with the particular expression, either as to richness or quiet simplicity, which is aimed at as the characteristic of the entire design. The capital may be modified almost infinitely in its proportions; first, as regards its general proportion to the column; secondly, as regards the size of the volutes compared with the width of the face. In the best Greek examples the volutes are much bolder and larger than in those of the Roman and Italian, in some of which they are so greatly reduced in size, and become consequently so far apart from each other, as to be insignificant in themselves, and give the whole capital an expression of meagreness and meanness. The spirals forming the volute supply another source of variety, since they may be either single or manifold. In what is called the Ilissus Ionic capital there is only a single spiral, or hem, whose revolutions form the volute, which mode, indeed, prevails in all the Roman and modern Ionics; but in the capitals of the Temple of Erechtheus at Athens, there are, besides that principal spiral, other intermediate ones which follow the course of its revolutions. Again, the cathetus, or eye of the volute, where the spiral or spirals terminate, admits of being made smaller or larger. It is, besides, sometimes flat, sometimes convex, and occasionally carved as a rosette. All these variations are independent of the general composition of the capital, and though not all equally good, they both suggest and authorize other modifications of the Ionic type, and fresh combinations.
One exceedingly interesting example, highly valuable as suggestive study,—one quite sui generis, and perhaps on that account viewed with more of prejudice than relish, is the internal Order of the Temple of Apollo at Bassæ, delineated and described by Mr. T. L. Donaldson, in the supplementary volume to Stuart’s ‘Athens.’ This example, which seems to have found favour only in the eyes of Mr. C. R. Cockerell, who has employed it on more than one occasion, has, as already intimated, four similar faces; yet if it so far agrees with many Roman and modern Ionic capitals, it differs from them totally in every other respect. While the faces of the latter are formed rather by merely sticking on the volutes diagonally, instead of turning them, so in the example now under notice, each face may be said to be arched, since it curves downwards on each side from the middle of its upper edge, instead of being there straight or horizontal beneath the architrave. Owing to this circumstance the faces of the capital have the look of being rather affixed to than properly connected with the abacus, and there is a certain degree of incongruousness and want of finish. So far, then, there is room for improvement, and perhaps in some other respects also; yet upon the whole there is much to approve of and admire in this capital, among whose peculiarities it deserves to be noted that the space between the volutes is not above half the width of the volutes themselves. Nor is it for its capital alone this that example of the Order is remarkable, its base being equally peculiar, on account of its simplicity of form, and still more so, perhaps, on account of its very great expansion, spreading out below to considerably more than two upper diameters of the shaft; which perhaps causes the capital to appear rather too small in comparison with it. This base is all the more remarkable because it differs entirely from what is called the Ionic base, although not employed by the European Greeks for that Order, who made use of what is styled the Attic base, consisting of two tori and a scotia, or deep curved hollow, between them. The proper Ionic base, or what is so called, differs from every other form of that member, being greatly contracted in its lower mouldings, which, if not a deformity, is not a particular beauty, as it gives the base too much the appearance of being reversed or turned upside down; and hence it is difficult to assign any probable or sufficient motive for such conformation of mouldings in the foot of a column. Perhaps the only modern instance of the application of that base occurs in the tetrastyle (four-columned) portico of Hanover Chapel, Regent Street, whose Order is copied from the Temple of Minerva Polias at Priene, in Asia Minor; to which example we shall presently have occasion to refer again when we come to speak of the Ionic entablature. Before so doing we have to call attention to another peculiarity in the columns within the Temple at Bassæ, whose base is [above shown]: we allude to the mode in which the shafts are fluted, which seems to indicate a transition from the Doric to the Ionic style, the fillets being exceedingly narrow, and the channels shallow and very slightly curved, which gives the shaft altogether a different character from that attending the usual mode of fluting practised for this Order.
Although it is a modern composition, derived from the study of Greek fragments, yet certainly not on that account the less meritorious than if it were an express copy from some one particular example, we may be allowed to speak of the Order, or rather the columns of the hexastyle (six-columned) portico of the Church in Regent Square, Gray’s Inn Road, erected between twenty and thirty years ago by Mr. Inwood, soon after the completion of St. Pancras’ Church, whose portico so admirably exemplifies the florid and elaborately wrought Ionic of the Temple of Erechtheus at Athens. The columns of the Regent Square Church,—and it is on account of the columns alone that we allude to it,—differ from all other known examples; not only in their bases and capitals, but also in the very peculiar mode of fluting, or rather striating, employed for their shafts. Not having detailed drawings, or any drawings at all to assist us, we cannot pretend to enter into description, but can only say that base, shaft, and capital are unlike all received examples, and at the same time so well adapted to each other as to produce artistic unity and consistency of character; and that character is stamped by breadth and simplicity. With respect to the fluting, it partakes of what may be called striating, the fillets showing themselves rather as narrow surfaces raised upon the shaft, than the channels as positive hollows between them. The capital is at once graceful and simple, and derives much of its peculiar character from the enlarged eye of the volute, which is occupied by a rosette ornament.
Interesting as it would be to particularize other examples, we cannot do so here, which is the less to be regretted because mere verbal remarks, unaccompanied by drawings on such a scale as to fully show all their minutiæ, would not be very satisfactory. Perhaps we shall be thought to have already dwelt rather too long on the mere column, for we have not yet quite done with that part of the Order. It remains to be observed, that notwithstanding its situation is such as to render detail there hardly noticeable, the baluster side of the capital was always enriched. In Greek examples it had a series of wide channels with broad fillets between them, and where great richness was affected, as in the Ionic of the Temple of Erechtheus, the fillets had an additional moulding upon them, carved into beads. In the Asiatic examples, on the contrary, and Roman ones also, the baluster side is usually cut into the form of leaves, bound together, as it were, in the centre by a broad moulded ring, which produces an exceedingly good effect; and indeed, in several instances, much better taste is manifested in that obscure part of the capital than in the face itself.