The artists repository and drawing magazine: exhibiting the principles of the polite arts in their various branches (3.1789)

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femalnder into five parts; four to the column, one t«
the entablature: the base and capital are each one semi-
diameter. The entablature divides into seven parts;
two to the Architrave, two to the Frieze, three to the
Cornice, The column diminishes one-fifth of its dia-
meter; the Capital projects one-fourth of the smallest
semi-diameter ; the Architrave projedts one-sixth of its
height; the height and projection of the Cornice are
equal.
Pedeshls in general follow the proportion of their
order; but this part is varied according to circum-
siances. The pedestal of the Tuscan order is divided into
four parts ; one is the height os the plinth, one-half is
the height of the sur-base ; one-third is the height os
the lower base. The projedtion of the base is equal to
its height; and the projedtion of the upper bale, or
cap, is equal to that os the lower base.
These rules are very general, and are the neared
approach to regularity; but as the members of the
different orders are not always precisely alike in every
composition, but vary according to the effedt required,
the proportions of the smaller members change of
eourse. And, indeed, there are great variations in the
general proportions of the orders among those remain^
os ancient art which are regarded as models of this
study : thus, wre have instances of the Cornice being in
height half the entablature ; of many members of the
entablature being suppresfed, and even of an omisiion os
the whole Architrave and Frieze ; the columns supportu
ing only the Cornice. These instances, however, mud
he considered as licentious, unlefs we were acquainted
3 D d with