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

by W. H. Leeds

Although it is repetition to say that the base usually given to this Order by the Greeks was the Attic one, consisting of two tori, divided by a scotia, we here refer to that part of the column again for the purpose of noting a species of enrichment applied to it, the upper torus being sometimes fluted horizontally, at others cut to resemble an interlaced chain-like ornament, now called a guilloche. Modern Architects, however, invariably leave the upper torus of the base quite plain, even when they scrupulously copy every other part of the column. The only instance of channeling upon the upper torus, to which we can point, is that of the portico of St. Pancras’ Church, which building well deserves to be carefully examined and studied by those who would acquire a correct idea of the exquisite finish and richness of Grecian Ionic details, and their effect in execution.

For Ionic Antæ a few words will suffice. Without exactly agreeing with that of the column, the base does not differ very materially from it, except, indeed, in the Ilissus example, where it is lower than the other, and consists only of a shallow scotia with a channeled torus above it. In the Erechtheum example it is distinguished from the column base chiefly by both lower and upper torus being channeled. The capital, or, as it is more commonly termed, anta-cap, on the contrary, is differently shaped from that of the column, in consequence of having no volutes; wherefore it is not by any means so wide, neither is it so deep. The mouldings, too, though of the same character, are differently disposed. Still the anta-cap corresponds with the capital as to plainness or enrichment,—being either carved or not, as those of the latter happen to be; and if the capital has an ornamented necking, so also has the anta. One singularity in the treatment of Ionic antæ, is that of the face of the anta, a slight break being made down the middle of it, which causes it to appear composed of two very narrow faces put together side by side, but not exactly flush with each other. This kind of antæ, in imitation of those of the Erechtheum—perhaps the only precedent for it—has been adopted for St. Pancras’ Church. What could have led to it is rather difficult to conjecture, since there does not appear to be any adequate motive for it, or any purpose gained by it.

Ionic Entablature.—As expressed in the terms of the diameter of the column, that is, measured by it, the entablature exceeds that of the Doric Order. In the Parthenon the entire height of the entablature is not more than 2 diameters; while in both the Ionic and Erechtheum it is 2 diameters and 17 parts, or the third of a diameter more; whereas it would seem that the Ionic column being much slenderer, the entablature ought to be less than 2 diameters in height, instead of being more. And so it is, and less in a considerable degree: it is the height, not the diameter, of the column which regulates the height of the entablature; in other words, the height of the latter must be in proportion to that of the former.[2] Now 2⅓ diameters for the entablature is much less in proportion to a column 8 or 9 diameters high, than 2 diameters for the entablature is to one that is only 6 diameters high. In the latter case the entablature is equal to one-third of the column, and one-fourth of the whole Order; but in the other, 2⅓ diameters amount to only a fourth, or thereabouts, of the height of the column, and consequently to only about a fifth of the entire Order.

The Ionic architrave does not differ materially from that of the Doric. Its average or standard height is the upper diameter of the column. In the plainer examples of Ionic, such as the Ilissus one, the face of the architrave is quite plain, as in the preceding Order, and distinguished from it only by the Doric tenia being converted into a moulding of a plain bead and small echinus, surmounted by a narrow tenia or broad fillet. In more decorated examples, as that of the Erechtheum, the face of the architrave is divided into three surfaces or courses, called faciæ, which very slightly project before or overhang each other, and the moulding between the architrave and frieze is increased in depth; there is a greater number of mouldings, and some of them are enriched by being carved, or, as it is termed, cut.

As to the Ionic frieze, triglyphs being discarded for it, and no other characteristic members substituted for them, it becomes no more than a plain surface interposed between the architrave and cornice, unless,—as is now never done, although it was, in all probability, generally done by the Ancients,—it is enriched with figures in bas-relief or other sculpture. Yet as mere sculpture of that kind, however essential to effect, is not taken into account, or considered to belong even to the character of an Order, but to be something quite extraneous that may either be introduced or omitted at pleasure, it is omitted accordingly; whereby the frieze is reduced to a mere blank surface, which leaves nothing more to be said concerning it.

The Ionic cornice affords but little scope for further observation, more particularly in the Athenian examples, in which it consists of little more than the corona and cymatium above it, and some narrow bed-mouldings beneath the former member, partly got out of its hollowed soffit or under surface. Consequently the whole cornice looks rather meagre and poor, especially if the richer form of capital with a necking to it be employed for the columns. In such case there is no corresponding degree of richness and increased importance in what is, nevertheless, the completing member or division of the entire Order, and ought accordingly to be treated as such. On this account we hold the cornice of the Erechtheum example to be very unsatisfactory, and to derogate from what is the character of the Order in all other respects: while the capital is particularly ornate, luxuriant, and complicated in design, the cornice, which, as has been before remarked, is to be considered as the capital of the entire Order, is particularly simple and severe; and owing to the want of a sufficiency of bed-mouldings beneath it, the corona appears to jut out too abruptly immediately over the frieze, without due preparation for it. Were the frieze sculptured, such enrichment would, perhaps, without any thing further, confer an adequate degree of ornateness upon the whole entablature, and bring it into keeping with the highly finished columns. If, on the contrary, the frieze is to be left plain, the best way would be to reduce its height a little, and perhaps that of the architrave also, and enlarge the cornice by introducing dentels into it. These last-mentioned members,—which, although considered by modern writers to be characteristic of the Ionic Order, and to be to its cornice what mutules are to the Doric, and modillions to the Corinthian, do not appear to have been so regarded by the Greeks themselves,—consist of a series of narrow upright blocks (supposed to represent the ends of joists), placed closely together, so that the spaces between them, which are only about half as wide as the blocks themselves, appear to indent that portion of the cornice, which, when introduced without being so ornamented, is called an uncut dentel band.

The Priene example, to which we referred when speaking of Ionic bases, offers what, in our opinion at least, is a far better model for an Ionic cornice than that of the Erechtheum, and which, with perhaps some modification of it, might very well be applied to the more florid Athenian Order; and though to do so would be contrary to precedent, that would matter little, so that the change itself were in conformity with artistic effect and æsthetic principles.

The Temple of Jupiter at Aizani in Asia Minor exhibits a remarkable example of the Ionic Order, the details of which were recently published, for the first time, by M. Texier. In its general conformation the base resembles the Priene example; but the entablature is quite different. The architrave is divided into three faciæ, separated by a cut moulding; and the upper faciæ is surmounted by an exceedingly deep and highly enriched course of mouldings. The frieze, too, is ornamented in a very unusual fashion, acanthus leaves being placed upon it at intervals, somewhat after the manner of triglyphs, and connected together with scrolls. The cornice has both dentels and modillions and a narrow corona, but a deep cymatium or epitithedas, enriched with carving.

We will not pursue our notice of the Greek or Ancient Ionic any farther, but here conclude it with observing, that notwithstanding its decided superiority to the Roman, &c., especially in its capital, the former has not been adopted by the Italian and French Architects of the present day. In this country, on the contrary, the Greek Ionic has been employed almost to the entire exclusion of the other, from the time of its being first made known to us by means of Stuart and Revett’s ‘Antiquities of Athens,’ and the ‘Ionian Antiquities;’ to which publications may be added the ‘Unedited Antiquities of Attica,’ which contains other specimens of the Order, found at Eleusis, remarkable for their refined simplicity and also their gracefulness. Not the least important lesson to be derived from these and similar publications is, we permit ourselves to say, the learning from them that the Greeks treated their Orders with artistic spirit and freedom, conforming to a certain type or general standard for each, but varying their details and modifying their proportions.

For examples of Grecian Doric and Ionic which may be seen in London, and which the student would therefore do well to look at and carefully examine for himself, since he will from these learn more than he possibly can do from books alone, we refer to the following buildings: for Doric, the tetrastyle portico of Covent Garden Theatre, and the hexastyle one of the Colosseum in the Regent’s Park; which latter shows the Order to much greater advantage than the other, owing to its being free from such disturbing and very un-antique additions as several doors and windows within it, which inevitably destroy all breadth and repose;—it has also the advantage of a west aspect, by which the full effect of light and shade is produced. For Ionic examples, we refer to St. Pancras’ Church, New Road, whose order is a faithful transcript from that of the Erechtheum; the same building also affords an instance of the application of a caryatid order of female figures in the porch, or rather the porch-like structure, on its north and south sides,—the idea of which is taken from a similar small structure attached to the Athenian Temple;—the University Club House, Pall Mall East, where the same Order is applied upon a much smaller scale, and raised upon a basement floor;—the Chapel in South Audley Street;—the portico of the Post Office, and the façade of the British Museum;—the portico of the College of Surgeons, Lincoln’s Inn Fields, whose columns, proportioned according to the Ilissus example, were originally plain, but were fluted, and the mouldings of the entablature cut, when the building was altered and greatly improved some years ago, by Mr. Barry;—the portico of Hanover Chapel, Regent Street, which, as the reader is already aware, shows the Priene Ionic;—and lastly, for we will not further extend this list, the portico of the India House, Leadenhall Street, which is remarkable for its frieze being sculptured, and its pediment also filled in with figures in relief. Of similar decoration for the Doric Order we cannot point out any instance here, both the metopes of the frieze, and the pediment, being left plain in all our English specimens of that Order.