Stray Thoughts On The Origin And Progress Of The Fine Arts.

the other , witn curved mouldings , plain or ornamented . The Doric order may be said to consist of three parts , viz ., the stylobate , the column , and the entablature . The stylobate differs from the pedestal in this , that it forms a continuous or unbroken basement for columns , ivhile a pedestal is an insulated support . The stylobate in the Doric order is in height from two-thirds to a whole

diameter of the column ; it is generally constructed of three equal courses , which gradually recede , the one above from the one below . On the uppermost course the columns rest ; the columns are short , varying from four to six diameters in hei ght ; they are without basesbecause of the narrowness of the

inter-, columniations . and also on account of their taperingform . The capital consists of an . echinus ( or eggshaped projection ) , and a deep square abacus ( or tile ) , above it . The echinus projects out , so as to exceed the diameter of the foot of the column , but appears only to equal it on account of the distance at which it is

always seen . The entablature is composed of architrave , frieze , and cornice . The architrave is the first member of the entablature , and rests immediately on the abaci ; it presents one plain broad face , and is proportioned to the weight it has to bear . Its height is generally equal to the narrowest diameter or neck of the column . The

frieze is usually of the same dimensions as the architrave , from which it is separated by a projecting band or fillet , called tamia . The frieze is ornamented by slightly projecting tablets , in which are cut two . g lyphs or grooves , and two half glyphs , thus making three glyphs , and

giving the ornament its appropriate name of triglyph , an ornament peculiar to the Doric order . The spaces between the triglyphs are called metopes , which signifies their position . The metopes are sometimes filled with figures in bas-relief ; and are regulated by the height of the frieze . Certain features of one order are of course common to all ; and having iven a somewhat

g detailed sketch , of the Doric , it may be sufficient to notice the points of difference in the others . The general peculiarity ofthe Doric order is massiveuess aud bold effect ; that of the Ionic is delicacy and elegance—all the ornaments and arrangements are skilfull y ordered to appeal ns it were to the poetry of the mind of the

spectator . The columns are tall and slender , their height being generally nine diameters ; each column rests upon a base , composed of two tori , or convex mouldings , with a concave moulding , called the scoiia , between them . The llutings in the shaft are 21 in number , with fillets left between each ; tho fillet is about one-fourth the breadth of the flute . The flutes are thus set an art from

each other , aud are much narrower than in the Doric ; nor does the Ionic shaft taper so suddenly as in that order . In consequence of the increased hei ght cf the column , there is an ornamental neck-piece added , composed of the honeysuckle , with its tendrils embracing the shaftabove ; this is an oiY . 7 o-moulding , so called because it is cut into eggs . There are also some lesser mouldings

, ancl then the capital . ; this consists of a square block , on whose faces the volutes are cut , which are spiral mouldings arranged into graceful curves . The architrave is divided into three nearl y equal- faces , slightly projecting over each other , and crowned with a cyma recta moulding . The word cyma is Greek , ancl mean :-- wore . ( There

are two sorts of mouldings called cyma , the cyma recta , and tho cip .:-:: rercrsn . ) Tiie frieze is generall y a plain surface , but sometimes enriched with sculpture . The cornice is very simple : it is divided into parts by mouldings and dentil baiuk , which latter are so called from their resemblance to a row of teeth , and belong peculiarly to the Ionic entablature . The most gorgeous existing specimen of the Ionic is said to be the Temple

Stray Thoughts On The Origin And Progress Of The Fine Arts.

of Minerva Polias , at Athens , which far surpasses every other existing relic , and is a model of elegance and completeness in this c'der .

Architecture And Archæology.

ARCHITECTURE AND ARCH ? OLOGY .

STEEET ABCHITECTUBE .

[ The following sensible lecture was delivered on Monday evening , the 26 th ult ., before the Leicester Literary aud Philosophical Society , by Mr . Frederick T . Mott , author of the clever little Guide from which ive lately presented our readers with sever .. l extracts . ] "In tbe happy days of Adam and Evehouses were

, an unnecessary encumbrance . Manners , however , soon became sophisticated . Cain , we are told , built a city . The architecture of that city is not described . Perhaps it was of a very primitive kind , the materials being mud and sticks ; but we are not called upon to decide that question . In England , at the present day , the majority of the population live hi townsancl the tone of the national

, mind is decidedly urban , not rural . In this state of things it behoves all patriots and philanthropists to see that that town life which leads the thought , the feeling , and the activity of England , is made as complete and perfect , as manly and as noble as ive all desire the character of our native land to be . And since we are very much what our surroundings make us , since our

thoughts and feelings are educated by the things we see and hear , it becomes a matter of the highest patriotism to surround ourselves with noble objects , to place ourselves and our neighbours in a position to receive the highest possible educational influence . In town life , the " chief things to be seen are stones , bricks , glass , iron , and timber ; ancl the wisest and most exalted of us cannot from

escape the influence of these senseless but overpowering materials . Piled in huge masses above our heads ; lining every foot of earth ou which we walk ; originating more than half of all the sensations of sight and touch which make our daily experience , they grave their inevitable lessons deeper and deeper into the character of every town-bred soul . There are many ways in which wc are educated by our

buildings , but especially they teach us either to love beauty or to be content with ugliness . There are some persons who think lightly of this lesson , but the mind which does not recognise tho fact that beauty is something higher than convenience ; that the love oi' beauty is the noblest ancl most unselfish attribute of the human intellect—is , in fact , the cud of our intellectual life—that mind has not

yet mastered the grammar of its eternal education . It is as much the duty of every man who builds a house , whether in town or country , to make it beautiful , as to make it wholesome ancl well drained . There arc however about town buildings some peculiar and necessary characteristics which require especial consideration . A town architect has other ivork to do th-n lie who lans a country

p mansion which may expand itself freely in every direction , lie has other temptations , and in some respects a more difficult task . He is hedged round ivith conditions and limitations , and finds the wings of his genius perpetually dashing against his neighbour ' s walls . The precisely given form of space ivhieh he has to fill puts a terrible screw upon his imagination ; and when that form is in itself

badly proportioned to begin iviib , perhaps a feiv feet of frontage , and a height of at least four stories and a garret , no wonder ho is at his wit ' s end to make anything graceful out of such a spiudleshanks . Then again , the strong desire which is natural to us shopkeepers to make a grand show at little cost , tempts him to rim up gaudy facings of paint and lasterwhile all behind is rotten timber

p , , bare bricks and whitewash , These risks arc peculiar to the street architect , and must often make his task a hard and galling one . But it is the true artist's work to demolish obstacles , aud plant his hag upon their rains ; to carry the world safely through the scrapes into which common men are perpetually plunging it . We are born into an age of towns , and into a land of trade . We cannot escape " from