Page images
PDF
EPUB
[ocr errors]

with openings for the bees in front, and a door behind, which is kept locked for security. Sometimes it is an area wherein each particular beehive is chained down to a post and padlocked. APODYTERIUM. ('Anodσlai, Gr., to strip oneself.) The apartment at the entrance of the ancient baths, or in the Palæstra, where a person took off his dress, whether for bathing or gymnastic exercises. In the baths of Nero, these apartments were small, but in those of Caracalla the apodyterium was a magnificent room with columns and other decorations.

APOPHYGE. (Gr., signifying flight.) That part of a column between the upper fillet or annulet on the base and the cylindrical part of the shaft of a column. usually moulded into a hollow or cavetto, out of which the column seems as it were to fly or escape upwards. The French call it congé, as it were, leave to go.

APOTHECA. (Gr.) A storehouse or cellar in which the ancient Greeks deposited their oil, wine, and the like.

APPROACH. A curved or graduated road leading to a building situated some distance
within the grounds.

APRON, OF PITCHING PIECE. A horizontal piece of timber, in wooden double-flighted
stairs, for supporting the carriage pieces or rough strings and joistings in the half
spaces or landings. The apron pieces should be firmly wedged into the wall.
APSIS, or ABSIS. (Gr., signifying an arch.) A term in ecclesiastical architecture, denot-
ing that part of the church wherein the clergy was seated or the altar placed. It was so
called from being usually domed or vaulted, and not, as Isidorus imagines, from being
the lightest part (apta). The apsis was either circular or polygonal, and domed over;
it consisted of two parts, the altar and the presbytery or sanctuary. At the middle of
the semi-circle was the throne of the bishop, and at the centre of the diameter was
placed the altar, towards the nave, from which it was separated by an open balustrade
or railing. On the altar was placed the ciborium and cup. The throne of the bishop
having been anciently called by this name, some have thought that thence this part of
the edifice derived its name; but the converse is the fact. The apsis gradata implied
more particularly the bishop's throne being raised by steps above the ordinary stalls.
This was sometimes called exhedra, and in later times tribune.

AQUARIUM. A case to contain sea or fresh water, in which to preserve living objects of
natural history. From a small glass case for a drawing-room, they have increased in
size until buildings are erected to contain a number of crystal tanks for the purpose of
exhibition-such are those at Brighton, and at the Crystal Palace, in England; and at
Hamburgh. London, Liverpool, and other cities are now seeking to establish them.
The term is also used for the tanks formed for growing the Victoria Regia and other
plants, as at Syon, Kew, Botanic Gardens in the Regent's Park, and elsewhere.
AQUEDUCT. (Lat. Aquæ ductus.) A conduit or channel for conveying water from one
place to another, more particularly applied to structures for the purpose of conveying
the water of distant springs across valleys, for the supply of large cities. The largest
and most magnificent aqueducts with the existence of which we are acquainted, were
constructed by the Romans, and many of their ruins in Italy and other countries of
Europe still attest the power and industry of that extraordinary nation. The most
ancient was that of Appius Claudius, which was erected in the 442nd year of the city,
and conveyed the Aqua Appia to Rome, from a distance of 11,190 Roman paces (a pace
being 58-219 English inches), and was carried along the ground, or by subterranean
lines, about 11,000 paces, about 190 of which were erected on arches. The next, in order
of time, was the Anio Vetus, begun by M. Curius Dentatus, about the year of Rome 481.
The water was collected from the springs about Tivoli; it was about 43,000 paces in
length. In the 608th year of the city, the works of the Anio Vetus and Aqua Appia
had fallen into decay, and much of the water had been fraudulently abstracted by
individuals, the prætor Martius was therefore empowered to take measures for increas-
ing the supply. The result of this was the Aqua Martia, the most wholesome water
with which Rome was supplied. It was brought from the neighbourhood of Subiaco,
twenty miles above Tivoli, and was 61,710 Roman paces (about 61 miles), whereof
7,463 paces were above ground, and the remainder under ground. A length of 463
paces, where it crossed brook and valleys, was supported on arches. To supply this in
dry seasons, was conducted into it another stream of equal goodness by an aqueduct
800 paces long. About nineteen years after this was completed, the Aqua Tepula was
brought in, supplied also from the Anio; but not more than 2,000 paces in length. In
the reign of Augustus, Agrippa collected some more springs into the Aqua Tepula, but
the latter water flowing in a separate channel, it preserved its name. This was 15,426
paces long, 7,000 above ground, and the remainder of the length on arcades. To this
was given by Agrippa the name of Aqua Julia. In the year 719 of the city, Agrippa
restored the dilapidated aqueducts of Appius, of Martius, and of the Anio Vetus, at his
own expense, besides erecting fountains in the city. The Aqua Virgo, which receives

its name from a girl having pointed out to some soldiers the sources of the stream from which it was collected, was brought to Rome by an aqueduct 14,105 paces in length, 12,865 of which were under ground, and 700 on arches, the remainder being above ground. The Aqua Alsietina, called also Augusta, was 22,172 paces from its source to the city, and 358 paces of it were on arcades. The seven aqueducts above mentioned being found, in the time of Caligula, unequal to the supply of the city, this emperor, in the second year of his reign, began two others, which were finished by Claudius, and opened in the year of the city 803. The first was called Aqua Claudia, and the second Anio Novus, to distinguish it from one heretofore mentioned. The first was 46,406 Roman paces, of which 10,176 were on arcades, and the rest subterranean. The Anio Novus was 58,700 paces in length, 9,400 whereof were above ground, 6,491 on arches, and the rest subterranean. Some of the arches of these are 100 Roman feet high. All the aqueducts we have mentioned were on different levels, and distributed accordingly to those parts of the city which suited their respective elevations. The following is the order of their heights, the highest being the Anio Novus, 159 feet above level of Tiber; Aqua Claudia, 149 feet; Aqua Julia, 129 feet; Aqua Tepula, Aqua Martia, 125 feet; Anio Vetus, Aqua Virgo, 34 feet; Aqua Appia, 27 feet; and the Aqua Alsietina on the lowest level. The Tiber at Rome being 91-5 feet above the level of the Mediterranean, the mean fall of these aqueducts has been ascertained to be about 0.132 English inches for each Roman pace (58-219 English inches), or 1 in 441. Vitruvius directs a fall of 1 in 200, but Scamozzi says the practice of the Romans was 1 in 500. The quantity of water furnished by six of the aqueducts, as given by Frontinus from a measurement at the head of each aqueduct, is as follows:

[merged small][merged small][ocr errors][ocr errors][merged small][ocr errors]

· 1,368 quinariæ.

4,607
4,738 39

The whole supply is given as 14,018 quinariæ, after much fraudulent diversion of the water by individuals; but the diminished quantity is supposed to have been 27,743,100 English cubic feet, or, estimating the population of Rome at one million of inhabitants, 27.74 cubic feet per diem for each inhabitant, or about 170 gallons English.

The aqueducts required constant repairs, from the nature of their construction, especially those on arches. The spaces between the piers varied much in width, and necessarily in height. Some of the arcades are as much as 27 feet in diameter.

There are remains of Roman aqueducts in other parts of Europe, even more magnificent than those we have mentioned. One, or the ruins of one, still exists at Metz, and another at Segovia in Spain, with two rows of arcades, one above the other. This last is about 100 feet high, and passes over the greater part of the houses of the city. The most remarkable aqueduct of modern times was that constructed by the order of Louis XIV. for conveying the waters of the Eure to Versailles. It is 4,400 feet in length, and contains 242 arcades, each of 50 feet span. The Romans do not appear to have been aware of the fact of water rising at a distance to its level at the fountain head. introduction of water pipes has now superseded the erection of these expensive

structures.

The

the ancients for regulating the
porticoes and colonnades. Vit
of the diameter of the column.
and, following the progression
each of which increases by a se

a half. Perrault, in his transla
equal to four diameters, which
or rather ought only to be, used
AREOSTSTYLE (Gr. Apaios, wid
French architects to denote the
coupled or ranged in pairs, as
facade of the Louvre. It was
of St. Paul's.

ABC. In geometry, a portion of a
measure of the angle formed E
centre of the circle.
ABC-BOUTANT. (Fr.) An arch-for
in the Pointed style, as also in
whose object is to counteract
called arched buttress and archec
ABC DOUBLEAU. (Fr.) An arch
orrault, in the same manner as
ARCADE. (Fr.) A series of apertu
word is often vaguely and indefi
or enclosure, which is more prop
Continued vault or arch supporte
meanings are given to it instead
generally a walk or ambulatory.
Tantly applied to the walks unde
or square.

The piers of arcades may be
of different forms. The arches
at other times with plain rustic,
springing from an impost or pl
recommended, from columns.
console, or sculptured with some
Taned his imposts or archivolts,
but Vignola made his piers alway
ARCADE. In medieval architecture
Betes supporting moulded arches
of a passage behind them.
ARCE. In ancient Roman architect
beam of wood with a groove or ch
ARCELLA. (Lat.) In medieval arch
A. A mechanical arrangement C
Some curve, and supporting one ar
formed of coussoirs or arch stones
whereof is called the keystone. T
are united, are called the joints.
rests are called the abutments. TI
istrados, and the superior or uppe
or abutments is the span of the ar
the intrados its height, or versed

ARABESQUE. The term is commonly used to denote that sort of ornament in Saracenic architecture consisting of intricate rectilinear and curvilinear compartments and mosaics which adorn the walls, pavements, and ceilings of Arabian and Saracenic buildings. It is capricious, fantastic, and imaginative, consisting of fruits, flowers, and other objects, to the exclusion in pure arabesques of the figures of animals, which the religion forbade. This sort of ornament, however, did not originate with the Arabians; it was understood and practised by the ancients at a very early period. Foliage and griffins, with ornaments not very dissimilar to those of the Arabians, were frequently employed on the friezes of temples, and on many of the ancient Greek vases, on the walls of the baths of Titus, at Pompeii, and at many other places. To Raffaele, in more modern times, we are indebted for the most elaborate and beautiful examples of a style of decoration called Arabesque, which he even dignified, and left nothing to be desired in it. Since the time of that master it has been practised with varying and inferior degrees of merit, especially by the French in the time of Louis XVI. Arabesques lose their character when applied to large objects, neither should they be employed where gravity in the style is to be preserved.

ARABIAN ARCHITECTURE. See SARACENIC ARCHITECTURE.

ARABO-TEDESCO. A term used chiefly by the Italians. An example of this style may be quoted in the baptistery at Pisa (fig. 152), erected by Dioti Salvi in 1152. It is a circular edifice, with an arcade in the second order composed of columns with Corinthian capitals and plain round arches. Between each arch rises a Gothic pinnacle, and above it is finished by sharp pediments enriched with foliage, terminating in a trefoil. ARÆOSTYLE, (Gr. Apauoso, wide, and rudos, a column.) One of the five proportions used by

les and periods of architecture
ARCHITECT. (Gr. Aoxos and TERTO, C

perintend the execution of any b
the subject of this work; whateve
bis employers ; and when we say t
tains should be well known and un
qualifications. To this we may ad
faithfulness, and integrity towards
whose lot it is to execute his proj
dishonesty of a builder, should he
Lappy career in his profession.
ARCHITECTURE, The art of building
and regulated by nature and taste.
ARCHITRATE, (Gr. Apxeur, to govern

the ancients for regulating the intercolumniations or intervals between the columns in porticoes and colonnades. Vitruvius does not determine precisely its measure in terms of the diameter of the column. His commentators have tried to supply the deficiency; and, following the progression observable in the intercolumniations he does describe, each of which increases by a semidiameter, the aræostyle would be three diameters and a half. Perrault, in his translation of Vitruvius, proposes that the interval be made equal to four diameters, which is the interval now usually assigned to it. It is only, or rather ought only to be, used with the Tuscan order. ARÆOSYSTYLE. (Gr. Apaios, wide, ovv, with, σTUλos, a column.) A term used by the French architects to denote the method of proportioning the intervals between columns coupled or ranged in pairs, as invented by Perrault, and introduced in the principal façade of the Louvre. It was also adopted by Sir Christopher Wren in the west front of St. Paul's.

ARC. In geometry, a portion of a circle or other curve line. The arc of a circle is the measure of the angle formed by two straight lines drawn from its extremities to the centre of the circle.

ARC-BOUTANT. (Fr.) An arch-formed buttress, much employed in sacred edifices built in the Pointed style, as also in other edifices, and commonly called a flying buttress, whose object is to counteract the thrust of the main vault of the edifice; it is also called arched buttress and arched butment. It was used in the Baths of Diocletian. ARC DOUBLEAU. (Fr.) An arch forming a projection before the sofite of a main arch or vault, in the same manner as a pilaster breaks before the face of a wall. ARCADE. (Fr.) A series of apertures or recesses with arched ceilings or sofites. But the word is often vaguely and indefinitely used. Some so designate a single-arched aperture or enclosure, which is more properly a vault; others use it for the space covered by a continued vault or arch supported on piers or columns; and, besides these, other false meanings are given to it instead of that which we have assigned. Behind the arcade is generally a walk or ambulatory, as in Covent Garden, where the term piazza is ignorantly applied to the walks under the arcade instead of to the whole place (Ital. piazza) or square.

The piers of arcades may be decorated with columns, pilasters, niches, and apertures of different forms. The arches themselves are sometimes turned with rock-worked, and at other times with plain rustic, arch stones or voussoirs, or with a moulded archivolt, springing from an impost or platband; and sometimes, though a practice not to be recommended, from columns. The keystones are generally curved in the form of a console, or sculptured with some device. Scamozzi made the size of his piers less, and varied his imposts or archivolts, in proportion to the delicacy of the orders he employed; but Vignola made his piers always of the same proportion.

ARCADE. In mediæval architecture, an ornamental dressing to a wall, consisting of colonnettes supporting moulded arches. Sometimes they stand sufficiently forward to admit of a passage behind them.

ARCE. In ancient Roman architecture, the gutters of the cavedium; arca signifying a beam of wood with a groove or channel in it.

ARCELLA. (Lat.) In mediæval architecture, a cheese room.

ARCH. A mechanical arrangement of blocks of any hard material disposed in the line of some curve, and supporting one another by their mutual pressure. The arch itself is formed of voussoirs or arch stones cut in the shape of a truncated wedge, the uppermost whereof is called the keystone. The seams or planes, in which two adjacent voussoirs are united, are called the joints. The solid extremities on or against which the arch rests are called the abutments. The lower or under line of each arch-stone is called the intrados, and the superior or upper line the extrados. The distance between the piers or abutments is the span of the arch, and that from the level line of the springing to the intrados its height, or versed sine. The forms of arches employed in the different styles and periods of architecture will be found described under the several heads. ARCHITECT. (Gr. Aoxos and TEKT, chief of the works.) A person competent to design and superintend the execution of any building. The knowledge he ought to possess forms the subject of this work; whatever more he may acquire will be for the advantage of his employers; and when we say that the whole of the elements which this work contains should be well known and understood by him, we mean it as a minimum of his qualifications. To this we may add, that with the possessions indicated, devotedness, faithfulness, and integrity towards his employer, with kindness and urbanity to those whose lot it is to execute his projects, not however without resolution to check the dishonesty of a builder, should he meet with such, will tend to insure a brilliant and happy career in his profession.

ARCHITECTURE. The art of building according to certain proportions and rules determined and regulated by nature and taste.

ARCHITRAVE. (Gr. Apxeu, to govern, and Lat. Trabs, a beam.) The lower of the three

principal members of the entablature of an Order, being, as its name imports, the chief beam employed in it, and resting immediately on the columns. It is called in Grecian architecture, Epistylium, from en, upon, and σTUA s, a column. The height of the architrave varied in the different Orders, as also in different examples of the same Order. ARCHITRAVE CORNICE. An entablature consisting of an architrave and cornice only, without the interposition of a frieze. It is never used with columns or pilasters, unless through want of height. It is, however, allowable.

ARCHITRAVE OF A DOOR OR WINDOW. A collection of members and mouldings round either, used for the decoration of the aperture. The upper part, or lintel, is called the traverse, and the sides the jambs. See ANTEPAGMENTA.

ARCHIVOLT. (Lat. Arcus volutus.) The ornamental band of mouldings round the voussoirs, or arch-stones of an arch, which terminates horizontally upon the impost. It is decorated, as to the members, analogously with the architrave, which, in arcades, it may be said to represent. It differs in the different Orders.

ARCHIVOLTUM. In medieval architecture, an arched receptacle for filth. A cesspool or

common sewer.

GLO

[ocr errors]

ASAROTUM. In ancient architecture, a spe
before the invention of Mosaic work.
ASHLAR OF ASHLER. (Ital. Asciare, to chi
quarry of different lengths and thickne
Also the facing given to squared stom
smoothed or rubbed so as to take out t
cat, it is called plain ashlar. Tooled as
is wrought in a regular manner, like
building. But when the surfaces of th
or regularity, the work is said to be ran
it is said to be chiselled or boasted, and
the ashlar is said to be pointed. Whe
said to be rusticked, in which the fa
superior work, neither pointed, chise!
some parts of the country herring-bon
are used.
ASHLARING. In carpentry, the short un
six inches or three feet high from the
order to cut off the acute angle formed
some open timber roofs between the i
ASPECT. (Lat. Aspicio.) The quarte
faces. Thus a front to the north is s
ASPHALTE. A bituminous substance fo
adways, it is either poured on in a
impervious to damp; or it is placed o
down by hot iron rammers.
ASSEMBLAGE. The joining or uniting
so joined. Carpenters and joiners
framing, mortise and tenon, dovetail
ASSEMBLAGE OF THE ORDERS. The pl

ARCH MOULDINGS. The series of mouldings forming the decoration of an arch as.used
in mediæval architecture. The illustration of the Early
English period, is from St. Mary's Church, Lincoln.
ARCHWAY. An aperture in a building covered with a vault.
Usually an arched passage or gate wide enough for carriages

[graphic]

to pass.

ARCUS ECCLESIÆ. In medieval architecture, the arch dividing
the nave of the church from the choir or chancel.

ARCUS PRESBYTERII. In medieval architecture, the arch over
the tribune marking the boundaries of its recess.
ARCUS TORALIS. In medieval architecture, the lattice sepa-
rating the choir from the nave in a basilica.
AREA. In Architecture, a small court or place, often sunk
below the general surface of the ground, before windows in
the basement story. It is also used to denote a small court
or yard, even when level with the ground.

AREA. In Geometry, the superficial content of any figure.
ARENA. The central space in a Roman amphitheatre, wherein
the gladiators fought. See AMPHITHEATRE.

Fig. 1365.

ARMOURY. An apartment destined to the reception of instruments of war.
ARONADE. Embattled; a junction of several lines forming indentations like the upward
boundary of an embattled wall, except that the middle of every raised part is termi-
nated by the convex arch of a circle, which arch does not extend to the length of that
part.
ARRIÈRE VOUSSURE. A secondary arch. An arch placed within an opening to form a
larger one, and sometimes serving as a sort of discharging arch.

ARRIS (probably abbreviated from the Ital. a risega, at the projection, or from the Sax.
apiran, to rise). The intersection or line on which two surfaces of a body forming an
exterior angle meet each other. It is a term much used by all workmen concerned in
building, as the arris of a stone, of a piece of wood, or any other body. Though, in
common language, the edge of a body implies the same as arris, yet. in building, the
word edge is restrained to those two surfaces of a rectangular parallelopipedal body on
which the length and thickness may be measured, as in boards, planks, doors, shutters,
and other framed joinery.

anges.

S

ASTRIAN ARCHITECTURE. Little more Jonia than the thick walls forming h carved stone pavements. The roof pilars supporting the framework of the entry of light and of fresh air. ASTRAGAL (Gr. AoTpayaλos, a die or profile. Some have said that the F. this a mistake, for the term is prope from the column. The astragal is c berries. A similar sort of mouldin astragal, is used to separate the face ASTLAR. A design made without the astylar composition. ATKINSON'S CEMENT. A quick-settin formerly obtained from nodules four ATLANTES OF ATLANTIDES. Figures of an entablature. In some modern w duced, and hence that name has bee ATRIUM. In ancient Roman architect part of Roman houses. According exposed to the air. By some it has and Aulus Gellius intimates that in ATTIC, OF ATTIC ORDER. It is employe terminating the upper part of a bui resemblance in proportional height Greece. Pliny thus describes it afte e vocantur Attice columnæ quat ever, find no examples of square pi all the triumphal arches exhibit sp the cornice breaking round them. order have never been subject to fix on the taste and feeling of the ar or small pilasters. APTIC BASE. The base of a column e fillets between them. It is thus des the upper part be one-third of the

ARRIS FILLET. A slight piece of timber of a triangular section, used in raising the slates against chimney shafts, or against a wall that cuts obliquely across the roof, and in forming gutters at the upper ends and sides of those kinds of skylights of which the planes coincide with those of the roof. When the arris fillet is used to raise the slates, at the eaves of a building, it is then called the eaves' board, eaves' lath, or eaves catch. ARRIS GUTTER. A wooden gutter of this V form fixed to the eaves of a building. ARSENAL. A public establishment for the deposition of arms and warlike stores. ARTIFICER. (Lat. Ars and Facio.) A person who works with his hands in the manufacture of anything. He is a person of intellectual acquirements, independent of mere operation by hand, which place him above the artisan, whose knowledge is limited to the general rules of his trade.

ARTIFICIAL STONE. A material produced by the use of cement and other substances, such as Austin's artificial stone, which is not burnt. Ransome's silicious stone was formed of silicate of soda mixed with sand, clay, and some flint, made into castings of the desired form, and burnt in a kiln. His concrete stone is formed of silicate of soda, mixed with clean pit sand and chalk, and formed into a stiff putty; then pressed into a mould, and saturated with a solution of chloride of calcium, forming a solid substance.

ASAROTUM. In ancient architecture, a species of painted pavement used by the Romans before the invention of Mosaic work.

ASHLAR OF ASHLER. (Ital. Asciare, to chip.) Common or free-stones as brought from the quarry of different lengths and thicknesses.

Also the facing given to squared stones on the front of a building. When the work is smoothed or rubbed so as to take out the marks of the tools by which the stones were cut, it is called plain ashlar. Tooled ashlar is understood to be that of which the surface is wrought in a regular manner, like parallel flutes, and placed perpendicularly in the building. But when the surfaces of the stones are cut with a broad tool without care or regularity, the work is said to be random-tooled. When wrought with a narrow tool, it is said to be chiselled or boasted, and when the surface is cut with a very narrow tool, the ashlar is said to be pointed. When the stones project from the joints, the ashlar is said to be rusticked, in which the faces may have a smooth or broken surface. In superior work, neither pointed, chiselled, nor random-tooled work are employed. In some parts of the country herring-bone ashlar and herring-bone random-tooled ashlar are used.

ASHLARING. In carpentry, the short upright quartering fixed in garrets about two feet six inches or three feet high from the floor, being between the rafters and the floor, in order to cut off the acute angle formed by the rafters. The upright quarterings seen in some open timber roofs between the inner wall plate and the rafters, is also so called. ASPECT. (Lat. Aspicio.) The quarter of the heavens which the front of a building faces. Thus a front to the north is said to have a north aspect.

ASPHALTE. A bituminous substance found in various places. When used for floors or roadways, it is either poured on in a liquid state, forming when set a hard substance, impervious to damp; or it is placed on the ground in powder, in a hot state, and pressed down by hot iron rammers.

ASSEMBLAGE. The joining or uniting several pieces together, or the union of them when so joined. Carpenters and joiners have many modes of accomplishing this, as by framing, mortise and tenon, dovetailing, &c.

ASSEMBLAGE OF THE ORDERS. The placing of columns upon one another in the several

ranges.

ASSYRIAN ARCHITECTURE. Little more is known of the buildings of Assyria and Babylonia than the thick walls forming halls and chambers lined with carvings, and having carved stone pavements. The roofing is supposed to have been formed with wood pillars supporting the framework of the roof, the spaces between the pillars allowing the entry of light and of fresh air.

ASTRAGAL. (Gr. Aστpayaλos, a die or huckle bone.) A small moulding of a semicircular profile. Some have said that the French call it talon, and the Italians tondino; but this a mistake, for the term is properly applied only to the ring separating the capital from the column. The astragal is occasionally cut into representations of beads and berries. A similar sort of moulding, though not developed in its profile as is the astragal, is used to separate the faces of the architrave.

ASTYLAR. A design made without the introduction of columns or pilasters is termed an astylar composition.

ATKINSON'S CEMENT.

A quick-setting cement similar to Parker's or Roman cement,
formerly obtained from nodules found near Whitby in Yorkshire.
ATLANTES OF ATLANTIDES. Figures of males used instead of columns for the support of
an entablature. In some modern works figures resembling Persians have been intro-
duced, and hence that name has been applied to them. CARYATIDES.

ATRIUM. In ancient Roman architecture, a court surrounded by porticoes in the interior
part of Roman houses. According to Scaliger it is derived from the Greek alepios
exposed to the air. By some it has been considered the same apartment as the vestibule,
and Aulus Gellius intimates that in his time the two words were confounded.
ATTIC, or ATTIC ORDER. It is employed to decorate the façade of a story of small height,
terminating the upper part of a building; and it doubtless derives its name from its
resemblance in proportional height and concealed roof to some of the buildings of
Greece. Pliny thus describes it after speaking of the other orders: "Præter has sunt
quæ vocantur Atticæ columnæ quaternis angulis pari laterum intervallo." We, how-
ever, find no examples of square pillars in the remains of ancient art, though almost
all the triumphal arches exhibit specimens of pilastral attics, having no capitals save
the cornice breaking round them. In modern architecture the proportions of the attic
order have never been subject to fixed rules, and their good effect is entirely dependent
on the taste and feeling of the architect. The attic is usually decorated with antæ
or small pilasters.

ATTIC BASE. The base of a column consisting of an upper and lower torus, a scotia and
fillets between them. It is thus described by Vitruvius, "It must be so subdivided that
the upper part be one-third of the thickness of the column, and that the remainder be

'

« PreviousContinue »