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 APRON, OF PITCHING PIECE. A horizontal piece of timber, in wooden double-flighted AQUARIUM. A case to contain sea or fresh water, in which to preserve living objects of 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: · 1,368 quinariæ. 4,607 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 a half. Perrault, in his transla ABC. In geometry, a portion of a The piers of arcades may be 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 perintend the execution of any b 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 ASAROTUM. In ancient architecture, a spe ARCH MOULDINGS. The series of mouldings forming the decoration of an arch as.used to pass. ARCUS ECCLESIÆ. In medieval architecture, the arch dividing ARCUS PRESBYTERII. In medieval architecture, the arch over AREA. In Geometry, the superficial content of any figure. Fig. 1365. ARMOURY. An apartment destined to the reception of instruments of war. ARRIS (probably abbreviated from the Ital. a risega, at the projection, or from the Sax. 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, ATRIUM. In ancient Roman architecture, a court surrounded by porticoes in the interior ATTIC BASE. The base of a column consisting of an upper and lower torus, a scotia and ' |