DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.4263#0011
10
PREFACE.
If from what has been said it should appear, that Architecture is reduced and restrained within
narrower limits than could be wished, for want of a greater number of ancient examples than have
hitherto been published, it must then be granted, that every such example of beautiful form or pro-
portion, wherever it may be found, is a valuable addition to the former stock, and does, when pub-
lished, become a material acquisition to the art.
But of all the countries, which were embellished by the ancients with magnificent buildino-s,
Greece appears principally to merit our attention; since, if we believe the ancients themselves, the
most beautiful orders and dispositions of columns were invented in that country, and the most cele-
brated works of Architecture were erected there: to which may be added that the most excellent
treatises on the art appear to have been written by Grecian Architects \
The City of Greece most renowned for stately edifices, for the genius of its inhabitants", and
for the culture of every art, was Athens0. We therefore resolved to examine that spot rather than
any other; nattering ourselves, that the remains we might find there, would excel in true taste and
elegance every thing hitherto published. How far indeed these expectations have been answered, must
now be submitted to the opinion of the public.
Yet since the authorities and reasons, which engaged us to conceive so highly of the Athenian
buildings, may serve likewise to guard them, in some measure, from the over hasty opinions and un-
advised censures of the inconsiderate; it may not be amiss to produce some of them in this place.
And we the rather wish to say something a little more at large on this subject, as it will be at the same
time an apology for ourselves, and perhaps the best justification of our undertaking.
After the defeat of Xerxes, the Grecians, secure from invaders and in full possession of their
liberty, arrived at the height of their prosperity. It was then, they applied themselves with the great-
est assiduity and success to the culture of the Arts". They maintained their independency and their
unes plus rondes, les autres un peu pcndantes, &c. Lorsque
j'ai mesure ce temple, il restoit encore une partie de la Corniche
et de la Frize assez considerable ou le stiic etoit encore entier,
celui de l'Architrave qui etoit beaucoup plus mine laissoit voir
les pierres de dessous, qui formoit un profil fort different de celui
du stuc." The basement of this building has never been covei-°d
with stucco, its mouldings therefore remain in their original form;
these Desgodetz has censured in the following words: " Dans
la Corniche il y a a remarquer un grand amas confus de petits
membres sous le larmier, qui est plus petit que le talon, et le
talon est plus petit que le listeau," page 103. Mons. de Cham-
bray has nevertheless supposed, and we imagine very justly, that
this imperfect building is the best example of the Ionic Order
now extant in Rome.
The only example of the Doric Order to be found in the Col-
lection of Antiquities which Desgodetz has published, is copied
from the Theatre of Marcellus: but this, although of the Au-
gustan ago, cannot be accounted a sufficient model for the re-
storation of an order. Instead of entire insulated columns, it
presents us only with half columns placed against the piers of an
Arcade; and the greatest part of the Cornice is entirely ruined,
so that not the least trace of its original form remains.
Let us now examine the three examples which Desgodetz has
produced of the Ionic Order; they are, the Temple of Manly
Fortune, the Theatre of Marcellus, and the Amphitheatre of
Vespasian. On the first of these we have already animadverted,
in the former part of this note. Against the Ionic Order of the
Theatre of Marcellus, the same objections present themselves,
as appeared against the Doric Order of the same building; be-
sides which we must observe, that the Cornice, ruined as it is,
had likewise one disadvantage originally attending it; for it
was designedly proportioned to the height of the entire building,
and not to the height of the columns which support it: a piece
of judgement for which the Architect may be praised, but which
would render this building, though it were entire, an imperfect
example of the Ionic Order. The example taken from the Am-
phitheatre of Vespasian has still less right than the former to
be proposed as a model of the Ionic Order. It is part of a more
extensive Arcade, the Columns are not insulated, the Volutes of
the Capitals are not so much as traced out, nor the Echinus cut,
nor are the Mouldings of the Cornice finished. The two ranges
of Pilasters which are placed in the same building, immediately
above this Ionic, massive and unfinished as they are, might with
as much propriety be cited as sufficient examples for restoring
■ Corinthian Order.
a Vitruvius, although he makes several compliments to the
Architects of Ids own country, professes to have taken the pre-
cepts of his art, not from the Romans, but from the Grecian
Authors, of whom he has given us an ample catalogue. See the
Procemium to his Seventh Book.
b Adeo ut corpora gcntis illius separata sint in alias civitatcs;
ingenia vero solis Atheniensium muris clausa existimes. ' So
that the bodies of this people were indeed distributed into va-
rious other cities, but you may reckon the genius was all confined
within the walls of the Athenians.' Velleius Paterculus, Book I,
Chap. XVIII.
c Atque illas omnium doctrinarum inventrices Athenas. ' And
Athens the inventress of all the Arts.' Cicero, in his treatise en-
titled, The Orator.
rtoX>,S» fi» $\ y.cc) &iAai> y wiktf vSi fWTug xa> rgopot ivjumk te^»»»
ytyovs, Tecs uw EVpa-fAtyYl v.cci avatpwao-a irgary, rct'ii; oe dwa-f^tv tx^hjvCkjO,
y.ccl nuxt y.a.) av&cnv. ' Athens was the Mother and propitious
Nurse of many other Arts also, some of which she first dis-
covered and produced, to others she added Energy, Dignity,
and Improvement.' Plutarch in his dissertation: Whether the
Athenians were more illustrious in peace or war.
cl 'Att& tovtw yct% %covuv ettJ et>} ttevtwovtm xoXXw IVlO«riV EAabEV r)
'E>.Aa; ct{o; tJiv ivSaipwlm. h toutoi; yu% to7s x?°mlS "' TE r!Xmi °M
T>jv BVToefav w^Oncrav, xai tote jtiyurrot jiJiiifiOVElJovTai ts%»~toi yiyonyat;
<a» 8<tti *EiJ;«f. ' After these times [when Xerxes was defeated],
for the space of fifty years, Greece received a great increase of
prosperity ; for in these times the arts, by means of the affluence
which prevailed, were advanced, and the most renowned artists
flourished ; amongst whom was Phidias.' Diodorus, Book XII.
See likewise Horace's Epistle to Augustus. Verse 93.
r to°ther fe ♦ renov
/., the* m0St
V „f excels
>#*'' Several tfW
• «the Italians -
'«»" *f;Pf delist and ornunu-n
W Antique Wnsidere-u,.:
lHPirbI1815", tbe author, besides iUo
dm monuments of the heroic hi
i&W and ingenuity, enters on tl
"ijalraistraction of the wonderful c
asjmilpM wrought by Phidias. [BR
; i genere pcrfectius videnn
iHtpsfect in that kind than the statues
iWlipiB, quan nemo aemulatur, S
ititti Jupiter Olympius which nolio
lita of Minerva,' &c. Plinv, Bu
"I Uibich work are manr other passu
V Miximusjook III. Chi
flumpk'. ManT other authors might
i
tifaui. nir«»J„r«
*«^ [of Prides] statJh,
™^*for their gncefnlfo
Jta? ambitious that the diW,
IS^thedeasnW
Cfey r?ed'rKtiwia'lds»I
Cif ^ PWd«l althi
\, V^%inseulpt
;reSl>ebes,
tn« art 0f c
'^HfeT^^tsof
^Prists
»hat de
■ "Sari,
PREFACE.
If from what has been said it should appear, that Architecture is reduced and restrained within
narrower limits than could be wished, for want of a greater number of ancient examples than have
hitherto been published, it must then be granted, that every such example of beautiful form or pro-
portion, wherever it may be found, is a valuable addition to the former stock, and does, when pub-
lished, become a material acquisition to the art.
But of all the countries, which were embellished by the ancients with magnificent buildino-s,
Greece appears principally to merit our attention; since, if we believe the ancients themselves, the
most beautiful orders and dispositions of columns were invented in that country, and the most cele-
brated works of Architecture were erected there: to which may be added that the most excellent
treatises on the art appear to have been written by Grecian Architects \
The City of Greece most renowned for stately edifices, for the genius of its inhabitants", and
for the culture of every art, was Athens0. We therefore resolved to examine that spot rather than
any other; nattering ourselves, that the remains we might find there, would excel in true taste and
elegance every thing hitherto published. How far indeed these expectations have been answered, must
now be submitted to the opinion of the public.
Yet since the authorities and reasons, which engaged us to conceive so highly of the Athenian
buildings, may serve likewise to guard them, in some measure, from the over hasty opinions and un-
advised censures of the inconsiderate; it may not be amiss to produce some of them in this place.
And we the rather wish to say something a little more at large on this subject, as it will be at the same
time an apology for ourselves, and perhaps the best justification of our undertaking.
After the defeat of Xerxes, the Grecians, secure from invaders and in full possession of their
liberty, arrived at the height of their prosperity. It was then, they applied themselves with the great-
est assiduity and success to the culture of the Arts". They maintained their independency and their
unes plus rondes, les autres un peu pcndantes, &c. Lorsque
j'ai mesure ce temple, il restoit encore une partie de la Corniche
et de la Frize assez considerable ou le stiic etoit encore entier,
celui de l'Architrave qui etoit beaucoup plus mine laissoit voir
les pierres de dessous, qui formoit un profil fort different de celui
du stuc." The basement of this building has never been covei-°d
with stucco, its mouldings therefore remain in their original form;
these Desgodetz has censured in the following words: " Dans
la Corniche il y a a remarquer un grand amas confus de petits
membres sous le larmier, qui est plus petit que le talon, et le
talon est plus petit que le listeau," page 103. Mons. de Cham-
bray has nevertheless supposed, and we imagine very justly, that
this imperfect building is the best example of the Ionic Order
now extant in Rome.
The only example of the Doric Order to be found in the Col-
lection of Antiquities which Desgodetz has published, is copied
from the Theatre of Marcellus: but this, although of the Au-
gustan ago, cannot be accounted a sufficient model for the re-
storation of an order. Instead of entire insulated columns, it
presents us only with half columns placed against the piers of an
Arcade; and the greatest part of the Cornice is entirely ruined,
so that not the least trace of its original form remains.
Let us now examine the three examples which Desgodetz has
produced of the Ionic Order; they are, the Temple of Manly
Fortune, the Theatre of Marcellus, and the Amphitheatre of
Vespasian. On the first of these we have already animadverted,
in the former part of this note. Against the Ionic Order of the
Theatre of Marcellus, the same objections present themselves,
as appeared against the Doric Order of the same building; be-
sides which we must observe, that the Cornice, ruined as it is,
had likewise one disadvantage originally attending it; for it
was designedly proportioned to the height of the entire building,
and not to the height of the columns which support it: a piece
of judgement for which the Architect may be praised, but which
would render this building, though it were entire, an imperfect
example of the Ionic Order. The example taken from the Am-
phitheatre of Vespasian has still less right than the former to
be proposed as a model of the Ionic Order. It is part of a more
extensive Arcade, the Columns are not insulated, the Volutes of
the Capitals are not so much as traced out, nor the Echinus cut,
nor are the Mouldings of the Cornice finished. The two ranges
of Pilasters which are placed in the same building, immediately
above this Ionic, massive and unfinished as they are, might with
as much propriety be cited as sufficient examples for restoring
■ Corinthian Order.
a Vitruvius, although he makes several compliments to the
Architects of Ids own country, professes to have taken the pre-
cepts of his art, not from the Romans, but from the Grecian
Authors, of whom he has given us an ample catalogue. See the
Procemium to his Seventh Book.
b Adeo ut corpora gcntis illius separata sint in alias civitatcs;
ingenia vero solis Atheniensium muris clausa existimes. ' So
that the bodies of this people were indeed distributed into va-
rious other cities, but you may reckon the genius was all confined
within the walls of the Athenians.' Velleius Paterculus, Book I,
Chap. XVIII.
c Atque illas omnium doctrinarum inventrices Athenas. ' And
Athens the inventress of all the Arts.' Cicero, in his treatise en-
titled, The Orator.
rtoX>,S» fi» $\ y.cc) &iAai> y wiktf vSi fWTug xa> rgopot ivjumk te^»»»
ytyovs, Tecs uw EVpa-fAtyYl v.cci avatpwao-a irgary, rct'ii; oe dwa-f^tv tx^hjvCkjO,
y.ccl nuxt y.a.) av&cnv. ' Athens was the Mother and propitious
Nurse of many other Arts also, some of which she first dis-
covered and produced, to others she added Energy, Dignity,
and Improvement.' Plutarch in his dissertation: Whether the
Athenians were more illustrious in peace or war.
cl 'Att& tovtw yct% %covuv ettJ et>} ttevtwovtm xoXXw IVlO«riV EAabEV r)
'E>.Aa; ct{o; tJiv ivSaipwlm. h toutoi; yu% to7s x?°mlS "' TE r!Xmi °M
T>jv BVToefav w^Oncrav, xai tote jtiyurrot jiJiiifiOVElJovTai ts%»~toi yiyonyat;
<a» 8<tti *EiJ;«f. ' After these times [when Xerxes was defeated],
for the space of fifty years, Greece received a great increase of
prosperity ; for in these times the arts, by means of the affluence
which prevailed, were advanced, and the most renowned artists
flourished ; amongst whom was Phidias.' Diodorus, Book XII.
See likewise Horace's Epistle to Augustus. Verse 93.
r to°ther fe ♦ renov
/., the* m0St
V „f excels
>#*'' Several tfW
• «the Italians -
'«»" *f;Pf delist and ornunu-n
W Antique Wnsidere-u,.:
lHPirbI1815", tbe author, besides iUo
dm monuments of the heroic hi
i&W and ingenuity, enters on tl
"ijalraistraction of the wonderful c
asjmilpM wrought by Phidias. [BR
; i genere pcrfectius videnn
iHtpsfect in that kind than the statues
iWlipiB, quan nemo aemulatur, S
ititti Jupiter Olympius which nolio
lita of Minerva,' &c. Plinv, Bu
"I Uibich work are manr other passu
V Miximusjook III. Chi
flumpk'. ManT other authors might
i
tifaui. nir«»J„r«
*«^ [of Prides] statJh,
™^*for their gncefnlfo
Jta? ambitious that the diW,
IS^thedeasnW
Cfey r?ed'rKtiwia'lds»I
Cif ^ PWd«l althi
\, V^%inseulpt
;reSl>ebes,
tn« art 0f c
'^HfeT^^tsof
^Prists
»hat de
■ "Sari,