gaudiness nor simplicity, a proof of antiquity. (18.) Simplicity

not always a sign of correct taste, (19.) though always found in

perfect works. (20.) Simplicity not a principle of composition.

(21.) Simplicity of ornament dignifies it: the variety of ornament

triumphs over Architecture. (22.) Variety most injurious to Ar-

chitecture. (23.) Distinctness. (24.) Case of indistinctness. (25.)

Another case of indistinctness: proposed explanation of the scamilli

impares: other discussions on it unsatisfactory. (26.) Vitruvius

referred to. (27.) Scamilli what. (28.) Vitruvius again. (29.)

Impares explained by Vitruvius: three steps have a good effect.

(30.) Diathesis. (31.) Diathesis of position. (32.) Diathesis of

form and proportion blended. (33.) Separate idea of them neces-

sary. (34.) Diathesis of projection. (35.) Hogarth's Analysis of

Beauty, (36.) near the truth. (37.) Ornament (38.) difficult to

apply. (39.) Nugatory contrasts. (40.) More parts require more

contrast. (41.) Vivid contrast generally desirable within limits.

(42.) Further distinction. (43.) Eurithmic diathesis. (44.) Sym-

metric diathesis. (45.) Qualifications in the above. (46.) Reca-

pitulation. (47) Limits in diathesis. (48.) Gradation in dia-

thesis (49.) useful to the student in practice. (50.) Application

of diathesis. (51.) A specimen of the Corinthian order examined :

the corona: diathesis of projection in it; and of symmetry; and of

ornament. (52) The fricze. (53.) The architrave. (54.) The

capital. (55.) The shaft. (56.) The base. 57. Symmetric dia-

thesis between adjacent and conspicuous parts. (58.) Ornamental

diathesis. (59.) Doric order, and Roman specimens of a triglyph

order, compared. (60.) Taxis and diathesis. (61.) Nature. (62.)

Diathesis of position. (63.) Eurithmic diathesis. (64.) Sym-

metric diathesis. (65.) Diathesis of form. (66.) Diathesis of pro-

jection. (67.) Motion and colour. (68.) Diathesis of colour.

(69.) In Architecture. (70) In carved and curved parts.

page 111.

ESSAY VII.

DISTRIBUTION, OR THE OIKONOMIA OF VITRUVIUS.

SECT. (1.) Of the order, in which the terms occur in the analysis of

Vitruvius. (2.) The sense here assigned to distributio and diathesis

necessary to the art. (3.) Distributio defined. (4.) The "loci

dispensatio" of Vitruvius. (5.) The" loci dispensatio" guides us

to distribution. (6.) Tactic difference between diathesis and distri-

butio. (7.) Simple distribution on the ground plan. (8.) The

elevation. (9.) Simple distribution most chaste. (10.) Of mixed

style in simple distribution : antis of Vitruvius : prostyle, and am-

phiprostyle: peripteral and hypoethral: dipteral, and pseudodip-

teral. (11.) Complex distribution; seven kinds. (12.) Façade

appendages with straight parts: a portico. (13.) Projecting parts

should be striking. (14.) Symmetric contrast in the elevation.

(15.) Other contrasts in the elevation. (16'.) Of complex styles

in complex distributions; sometimes excusable, perhaps appro-

priate. (16.) Two lateral parts. (17.) Three lateral parts. (18.)

Very difficult to preserve contrast and character. (19.) Of the

figures. (20.) Other cases. (21.) Adjustment of exterior to in-

terior proportion: (22.) the more complex, the more difficult:

(23.) impossible to follow every variety. (24.) Further gradation

in distribution. (25.) Façade lateral appendages with curved

parts. (26.) Of the figures. (27.) Straight and curved appendages

liable to the same rules. (28.) Of straight wings: (29.) difficult

to harmonize: (30.) difference of opinion about wings: (31.) of

connecting wings: (32.) figures: (33) wings where best: (34.) a

simple mode of using wings: (35.) liberties. (36) Fundamental

appendages, their superiority. (37.) Basements. (38.) Detached

appendages. (39.) Curved wings, (40.) rather more varied. (41.)

Straight elevated appendages. (42.) St. Peter's at Rome : Michael

Angelo: St. Paul's. (43.) Beauty of spires, &c.; (44.) their

taxis. (45.) Spires and turrets. (46.) Curved elevated append-

ages. (47.) Oriental domes. (48.) Nature of domes. (49.) Dis-

tribution may be carried further. (50.) Modern cities often want

variety: a street should not be in a simple distribution, (51.)

though economical. (52.) No further rules are necessary for de-

signing a street: High Street, Oxford. (53.) Harmony and con-

trast. (54.) The great secret in composition. (55.) Proportion

of a street. (56.) Leith Walk, Edinburgh: Regent Street, London.

(57.) Grounds round a house. (58.) Nature: uniformity not

the beauty of minute objects only. (59.) Great and small relative.

terms: nor is uniformity the beauty of great objects. (60.) Uni-

formity and variety both desirable. (61.) Of the connexion and

use of parts: different uses require different forms: the same uses

the same forms. (62.) Imperfect contrast. (63.) Where contrast

is a beauty. (64.) Accompaniment to a mansion. (65.) Modes

of affinity. A castle. (66.) A Grecian design. (67.) Other modes.

(68.) Conflicting opinions accounted for. (69.) The Analysis of

Taste. (70.) We must not decide one style to be bad, because another is good. (71.) The beauties of nature inferior to art. (72.) Landscape gardening. (73.) Furniture. (74.) Entrance: (75.) its features. (76.) Modes of access should be apparent. (77.) Statues. (78.) Coup-d'œil of the entrance. (79.) Aspect. (80.) External statues. (81.) Warmth. (82.) Proportion of rooms. (83.) Different kinds of contrast. (84.) Contrast of simple form: (85.) contrast of ornamental form. (86.) Eurithmic contrast: (87.) symmetric contrast: (88.) contrast of projection. (89.) Nature. (90.) Distributio of diathesis the same in nature. (91.) Superiority of nature. (92.) Nature not similar in principle always to art

ESSAY VIII.

page 146

CHARACTER, OR THE DECOR OF VITRUVIUS.

:

SECT. (1.) Effect of the art on the mind by character. (2.) Consistency and harmony. (3.) Character almost instinctive, (4.) allowed by others. The decor of Vitruvius. (5.) His practical explanation; statio, consuetudo, natura. (6.) That decor means character in particular. (7.) Oeμatioμoç. (8.) Origin of architectural character, (9.) difficult to study and to conceive: (10.) difficult to treat of. Avoid the evils of the association of ideas. (11.) P. Knight: Lock. (12.) Association of extraneous ideas most injurious. (13.) Association of first principles. (14.) Uniformity: harmony. (15.) Uniformity in other arts: in music: (16.) in painting in Architecture, the handmaid of character. (17.) Uniformity of taxis, (18.) in mouldings. (19.) Of form, varying with the use; yet still in uniformity with it, as to the kind of forms they are composed of. (20.) Uniformity of form, (21.) or characteristic uniformity in the Doric order: (22.) when it aids character itself; (23.) in the Ionic order; (24.) in the Corinthian order. (25.) Norman style: Saxon. (26.) Characteristic uniformity very important. (27.) Uniformity aided by a contrast of position. (28.) Uniformity of position; (29.) cases where it occurs. (30.) Uniformity of proportion, or harmony. (31.) Character a refinement on what is already correct. (32.) Various tastes, in judgment of animal beauty: (33.) in judgment of human beauty: (34.) in periods and countries; in shrubberies; in dress. (35.) Dress must be preposterous. (36.) Variety of taste in other things. (37.) The human species. (38.) Physiognomy, craniology, palmistry. Modern organs of craniology. (39.) The mind. (40.) Amativeness. (41.)

A scheme of physiognomy proposed; (42.) the minute features to

be observed: (43.) ardour; obstinacy; (44.) sensibility; (45.)

perception. (46.) Three propensities, the origin of the rest; (47.)

combined, produce rational caution, hope, faith, credulity, enthu-

siasm, invention, talent, exalted genius, magnanimity. (48.)

The three originals, when absent, give place to cruelty, bru-

tality, murderous propensity, shyness, suspicious caution, timidity,

and stupidity. (49.) The three originals perverted, produce a

miser, deceit, fretfulness, pride, vanity, folly, idiotcy, fanaticism,

madness. (50.) Of the arts. (51.) These characters may

exist in numerous forms. Examples: sanguine, choleric, me-

lancholic of Lavater. (52.) Imperfection of all rules. (53.)

The science of physiognomy of little use in Architecture. (54.)

Of pathognomy: Le Brun. (55.) No new science. (56.)

Love, admiration, joy, hope, sorrow, sullenness, despair, contempt,

malice, anger, hatred, fear, shame, (57.) all very much varied.

General form not indicative of either physiognomy or pathognomy.

Lasting impressions of the passions; indications of virtue and vice.

(58.) Of human male and female figures: (59.) of the male; of

the female. (60.) A more masculine variety in fig. cvI. (61.)

This distinction introduced into Architecture, and better into orna-

ment. (62.) Circles harmonize with the female form, and ellipses

with the male. (63.) How applied. (64.) Forms of children:

the circle a primitive form throughout the creation. (65.) These

observations of remote use in Architecture. (66.) Of characters

produced by single qualities: by form. (67.) Characters produced

by proportion: (68.) lightness; (69.) heaviness; (70.) dignity.

(71.) Character arising from one principle least pleasing. (72.)

Character arising from form and proportion. (73.) Neatness.

(74.) Prettiness. (75.) Handsomeness. (76.) Strength: design

should be decided, and ample, have straight parts, (77.) neither

bare nor crowded; firm, neither heavy nor light. (78.) Solidity.

(79.) Of characters possessing greater diathesis. (80.) Greatness.

(81.) Great and small are relative terms, which makes rules uncer-

tain. (82.) On the use of sculpture. Modern Italy. (83.) Ancient

Greece. (84.) Greatness arises from symmetric diathesis. (85.)

Mere size. (86.) The scheme should be great: certain great build-

ings do not appear great. (88.) We should cultivate all the excel-

lencies: harmony (89.) aids the effect of greatness. (90) Fenes-

tral scheme. (91.) Greatness combined with other characters.

(92.) Boldness arises from projecture. (93.) Projecture the soul

of the art. (94.) Its importance. (95.) Grandeur differs from

sublimity. (96.) The sublime. (97.) Aristotle: Burke. (98.)

The sublime, a combination of the dignified, the great and bold.

(99.) Sublime in tragedy, arising from terror and pity. (100.)

How so arising. (101.) Modern objections to Aristotle. (102.)

Poetry differs from Architecture: sublime genius alone can pro-

duce the sublime. (103.) Grandeur less dignified than the sub-

lime. (104.) Beauty. (105.) Burke and others. (106.) Beauty

combines the neat, pretty, and handsome. (107.) Richness;

(108.) luxuriance; (109.) magnificence. (110.) The sublime,

grand, and magnificent, distinguished: these characters have

nothing to do with physiognomy. (111.) We cannot embrace

all characters: character belongs to talent: (112.) character

of ornament should be attended to: (113.) character brought about

the same way in ornament as in Architecture: ornament should

be curtailed in quantity, (114.) and rendered perfect. (115.)

The character of ornament belongs wholly to Architecture.

page 191.

ESSAY IX.

CONCLUSION.

SECT. (1.) Architecture a learned science: esteemed in Greece:
despised in Rome: worthy of our cultivation. (2.) Recapitulation:
fourth essay foundation, support, shelter. (3.) Arrectarial
scheme: fulcimental: archi-columnal: monotrabeal: pariefenestral:
sectional: mixed schemes. (4.) Mouldings: ornament. (5.) Fifth
essay curithm symmetry. (6.) Simple proportions. (7.) Of
deceptions in proportion: fractions. (8.) Sixth essay: diathesis,
four kinds. (9.) Contrast of position: of form and proportion:
projecture. (10.) Order of conspicuousness. (11.) Application of
diathesis. (12.) Seventh essay: distribution; (13.) simple and
complex: simple distribution; (14.) Vitruvian distributions; (15.)
complex distribution, seven kinds: (16.) complex distribution re-
quires great skill. (17.) Straight and curved appendages. (18.)
Contrast should be conspicuous. (19.) Fundamental appendages;
(20.) detached appendages and curved wings; (21.) elevated
appendages of the support to them. (22.) Towns, &c. Land-
scape gardening. (23.) Entrance to houses. (24.) General
principle in distribution. (25.) Eighth essay: character; (26.)