DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.26532#0137
CIVIL ARCHITECTURE.
29
good sense. Reason would place the small Fillet of the archi-
trave upon the greater, as may be seen in the arch at Verona,
and the Temple at Pola3 in moil instances the pradtice is
the reverse. The moderns, according to the Roman fashion,
put the dentels under the mutules (i. e. the small rasters un-
der the principal ones) 3 this pradtice the antient Greek artists
condemned 3 nor did Diogenes in the Pantheon, being an
Athenian, pursue this plan. In the antient Grecian pedi-
ments neither mutules nor dentels 2re seen5 but they are
found in the Roman : so that the Temple near Scisis, a city
os Umbra, whose pediment is without these ornaments, is per-
haps Grecian. Reason forbids the corona to be omitted in the
cornice 3 but in the Temple of Peace, and in others, practice
warrants it. Reason enjoins ornamented dentils, but they are
often left plain. We should not indeed rashly condemn these
instances, but suspedt our own judgment 3 and presume there
maybe a reason, of which we are ignorant, to justify their use«
But every thing which is ancient in this Art demands not
our imitation 3 for time which has destroyed more noble may
have left us less beautiful models. Sometimes necestity and
not the good sense of the architect diredts the execution 3 as in
the Temple at Rome called del battesimo di Constan-
tino ; where between the base and apophyge of an Italian co-
lumn leaves are introduced 3 in the cornice under the dentil is
placed an upright cima, and immediately under that another j
each case is unsupported by authority, but somehow or other a
temple was to be erected from the the ancient ruins. The
artist deserved praise who so well complied with his talk. Ne-
cestlty only can excuse the instance 3 where he is left to his
own judgment, he will not follow a model defensible only on
the plea of nepeility,
BOOK
29
good sense. Reason would place the small Fillet of the archi-
trave upon the greater, as may be seen in the arch at Verona,
and the Temple at Pola3 in moil instances the pradtice is
the reverse. The moderns, according to the Roman fashion,
put the dentels under the mutules (i. e. the small rasters un-
der the principal ones) 3 this pradtice the antient Greek artists
condemned 3 nor did Diogenes in the Pantheon, being an
Athenian, pursue this plan. In the antient Grecian pedi-
ments neither mutules nor dentels 2re seen5 but they are
found in the Roman : so that the Temple near Scisis, a city
os Umbra, whose pediment is without these ornaments, is per-
haps Grecian. Reason forbids the corona to be omitted in the
cornice 3 but in the Temple of Peace, and in others, practice
warrants it. Reason enjoins ornamented dentils, but they are
often left plain. We should not indeed rashly condemn these
instances, but suspedt our own judgment 3 and presume there
maybe a reason, of which we are ignorant, to justify their use«
But every thing which is ancient in this Art demands not
our imitation 3 for time which has destroyed more noble may
have left us less beautiful models. Sometimes necestity and
not the good sense of the architect diredts the execution 3 as in
the Temple at Rome called del battesimo di Constan-
tino ; where between the base and apophyge of an Italian co-
lumn leaves are introduced 3 in the cornice under the dentil is
placed an upright cima, and immediately under that another j
each case is unsupported by authority, but somehow or other a
temple was to be erected from the the ancient ruins. The
artist deserved praise who so well complied with his talk. Ne-
cestlty only can excuse the instance 3 where he is left to his
own judgment, he will not follow a model defensible only on
the plea of nepeility,
BOOK