Part 4

How little modern Architects are capable of modifying the Ionic capital, and adapting it to particular circumstances, may be seen in the colonnades of the façade of the British Museum, where, at the re-entering or internal angle formed by colonnades at right angles to each other, the column at the angle has two adjoining voluted faces given to it; but as a re-entering or inner angle is circumstanced quite differently from an external one, the consequence is that each of those faces falls opposite the baluster side of the columns ranging with it either way. We explain this briefly in two simple diagrams, in which _f_ indicates the face or voluted side of the capital, and _b_ the baluster side. In an external angle, or the return of a portico, the faces and sides are arranged thus, so that _b b b b_ come opposite each other; but in an internal or re-entering angle, the reverse takes place; for we have then this disposition of the faces and sides of the capitals, in which a voluted face comes opposite to the baluster side of the next capital,—a most unsightly irregularity, and one all the more unpardonable because it could have been got over, if in no other way, by converting that column (_a_) into a square pillar, which would besides give strength, or the expression of it, where such expression is very desirable.

If these observations on the Ionic capital seem to detain us too long, we cannot help it: they are nothing less than indispensable for a proper understanding of its nature, and the peculiarity of circumstances attending it. What remains to be observed is, that owing to its complexity, that capital admits of very great diversity of character and decoration. It is sometimes without, and sometimes has a necking to it, which may either be plain or decorated, as may best accord with the particular expression, either as to richness or quiet simplicity, which is aimed at as the characteristic of the entire design. The capital may be modified almost infinitely in its proportions; first, as regards its general proportion to the column; secondly, as regards the size of the volutes compared with the width of the face. In the best Greek examples the volutes are much bolder and larger than in those of the Roman and Italian, in some of which they are so greatly reduced in size, and become consequently so far apart from each other, as to be insignificant in themselves, and give the whole capital an expression of meagreness and meanness. The _spirals_ forming the volute supply another source of variety, since they may be either single or manifold. In what is called the Ilissus Ionic capital there is only a single spiral, or _hem_, whose revolutions form the volute, which mode, indeed, prevails in all the Roman and modern Ionics; but in the capitals of the Temple of Erechtheus at Athens, there are, besides that principal spiral, other intermediate ones which follow the course of its revolutions. Again, the _cathetus_, or eye of the volute, where the spiral or spirals terminate, admits of being made smaller or larger. It is, besides, sometimes flat, sometimes convex, and occasionally carved as a _rosette_. All these variations are independent of the general composition of the capital, and though not all equally good, they both suggest and authorize other modifications of the Ionic type, and fresh combinations.

One exceedingly interesting example, highly valuable as suggestive study,—one quite _sui generis_, and perhaps on that account viewed with more of prejudice than relish, is the internal Order of the Temple of Apollo at Bassæ, delineated and described by Mr. T. L. Donaldson, in the supplementary volume to Stuart’s ‘Athens.’ This example, which seems to have found favour only in the eyes of Mr. C. R. Cockerell, who has employed it on more than one occasion, has, as already intimated, four similar faces; yet if it so far agrees with many Roman and modern Ionic capitals, it differs from them totally in every other respect. While the faces of the latter are formed rather by merely _sticking on_ the volutes diagonally, instead of _turning_ them, so in the example now under notice, each face may be said to be arched, since it curves downwards on each side from the middle of its upper edge, instead of being there straight or horizontal beneath the architrave. Owing to this circumstance the faces of the capital have the look of being rather affixed to than properly connected with the abacus, and there is a certain degree of incongruousness and want of finish. So far, then, there is room for improvement, and perhaps in some other respects also; yet upon the whole there is much to approve of and admire in this capital, among whose peculiarities it deserves to be noted that the space between the volutes is not above half the width of the volutes themselves. Nor is it for its capital alone this that example of the Order is remarkable, its base being equally peculiar, on account of its simplicity of form, and still more so, perhaps, on account of its very great expansion, spreading out below to considerably more than two upper diameters of the shaft; which perhaps causes the capital to appear rather too small in comparison with it. This base is all the more remarkable because it differs entirely from what is called the _Ionic base_, although not employed by the European Greeks for that Order, who made use of what is styled the _Attic base_, consisting of two _tori_ and a _scotia_, or deep curved hollow, between them. The proper Ionic base, or what is so called, differs from every other form of that member, being greatly contracted in its lower mouldings, which, if not a deformity, is not a particular beauty, as it gives the base too much the appearance of being reversed or turned upside down; and hence it is difficult to assign any probable or sufficient motive for such conformation of mouldings in the foot of a column. Perhaps the only modern instance of the application of that base occurs in the _tetrastyle_ (_four_-columned) portico of Hanover Chapel, Regent Street, whose Order is copied from the Temple of Minerva Polias at Priene, in Asia Minor; to which example we shall presently have occasion to refer again when we come to speak of the Ionic entablature. Before so doing we have to call attention to another peculiarity in the columns within the Temple at Bassæ, whose base is above shown: we allude to the mode in which the shafts are fluted, which seems to indicate a transition from the Doric to the Ionic style, the fillets being exceedingly narrow, and the channels shallow and very slightly curved, which gives the shaft altogether a different character from that attending the usual mode of fluting practised for this Order.

Although it is a modern composition, derived from the study of Greek fragments, yet certainly not on that account the less meritorious than if it were an express copy from some one particular example, we may be allowed to speak of the Order, or rather the columns of the _hexastyle_ (_six_-columned) portico of the Church in Regent Square, Gray’s Inn Road, erected between twenty and thirty years ago by Mr. Inwood, soon after the completion of St. Pancras’ Church, whose portico so admirably exemplifies the florid and elaborately wrought Ionic of the Temple of Erechtheus at Athens. The columns of the Regent Square Church,—and it is on account of the columns alone that we allude to it,—differ from all other known examples; not only in their bases and capitals, but also in the very peculiar mode of fluting, or rather _striating_, employed for their shafts. Not having detailed drawings, or any drawings at all to assist us, we cannot pretend to enter into description, but can only say that base, shaft, and capital are unlike all received examples, and at the same time so well adapted to each other as to produce artistic unity and consistency of character; and that character is stamped by _breadth_ and simplicity. With respect to the fluting, it partakes of what may be called _striating_, the fillets showing themselves rather as narrow surfaces raised upon the shaft, than the channels as positive hollows between them. The capital is at once graceful and simple, and derives much of its peculiar character from the enlarged eye of the volute, which is occupied by a rosette ornament.

Interesting as it would be to particularize other examples, we cannot do so here, which is the less to be regretted because mere verbal remarks, unaccompanied by drawings on such a scale as to fully show all their minutiæ, would not be very satisfactory. Perhaps we shall be thought to have already dwelt rather too long on the mere column, for we have not yet quite done with that part of the Order. It remains to be observed, that notwithstanding its situation is such as to render detail there hardly noticeable, the baluster side of the capital was always enriched. In Greek examples it had a series of wide channels with broad fillets between them, and where great richness was affected, as in the Ionic of the Temple of Erechtheus, the fillets had an additional moulding upon them, carved into beads. In the Asiatic examples, on the contrary, and Roman ones also, the baluster side is usually cut into the form of leaves, bound together, as it were, in the centre by a broad moulded ring, which produces an exceedingly good effect; and indeed, in several instances, much better taste is manifested in that obscure part of the capital than in the face itself.

Although it is repetition to say that the base usually given to this Order by the Greeks was the _Attic_ one, consisting of two _tori_, divided by a _scotia_, we here refer to that part of the column again for the purpose of noting a species of enrichment applied to it, the upper torus being sometimes fluted horizontally, at others cut to resemble an interlaced chain-like ornament, now called a _guilloche_. Modern Architects, however, invariably leave the upper torus of the base quite plain, even when they scrupulously copy every other part of the column. The only instance of channeling upon the upper torus, to which we can point, is that of the portico of St. Pancras’ Church, which building well deserves to be carefully examined and studied by those who would acquire a correct idea of the exquisite finish and richness of Grecian Ionic details, and their effect in execution.

For Ionic Antæ a few words will suffice. Without exactly agreeing with that of the column, the base does not differ very materially from it, except, indeed, in the Ilissus example, where it is lower than the other, and consists only of a shallow scotia with a channeled torus above it. In the Erechtheum example it is distinguished from the column base chiefly by both lower and upper torus being channeled. The capital, or, as it is more commonly termed, _anta-cap_, on the contrary, is differently shaped from that of the column, in consequence of having no volutes; wherefore it is not by any means so wide, neither is it so deep. The mouldings, too, though of the same character, are differently disposed. Still the anta-cap corresponds with the capital as to plainness or enrichment,—being either carved or not, as those of the latter happen to be; and if the capital has an ornamented necking, so also has the anta. One singularity in the treatment of Ionic antæ, is that of the face of the anta, a slight break being made down the middle of it, which causes it to appear composed of two very narrow faces put together side by side, but not exactly _flush_ with each other. This kind of antæ, in imitation of those of the Erechtheum—perhaps the only precedent for it—has been adopted for St. Pancras’ Church. What could have led to it is rather difficult to conjecture, since there does not appear to be any adequate motive for it, or any purpose gained by it.

IONIC ENTABLATURE.—As expressed in the terms of the diameter of the column, that is, measured by it, the entablature exceeds that of the Doric Order. In the Parthenon the entire height of the entablature is not more than 2 diameters; while in both the Ionic and Erechtheum it is 2 diameters and 17 parts, or the third of a diameter more; whereas it would seem that the Ionic column being much slenderer, the entablature ought to be less than 2 diameters in height, instead of being more. And so it is, and less in a considerable degree: it is the height, not the diameter, of the column which regulates the height of the entablature; in other words, the height of the latter must be in proportion to that of the former.[2] Now 2⅓ diameters for the entablature is much less in proportion to a column 8 or 9 diameters high, than 2 diameters for the entablature is to one that is only 6 diameters high. In the latter case the entablature is equal to one-third of the column, and one-fourth of the whole Order; but in the other, 2⅓ diameters amount to only a fourth, or thereabouts, of the height of the column, and consequently to only about a fifth of the entire Order.

[2] The necessity for agreement in this respect between the column and its entablature will be rendered apparent by the preposterous effect produced in two instances where the columns have been prolonged to an absurd height without the entablature being deepened in the same degree; namely, the portico of the Admiralty, and that within the court of Furnival’s Inn; the first of which is bad enough, the other far worse in every respect.

The Ionic _architrave_ does not differ materially from that of the Doric. Its average or standard height is the upper diameter of the column. In the plainer examples of Ionic, such as the Ilissus one, the face of the architrave is quite plain, as in the preceding Order, and distinguished from it only by the Doric tenia being converted into a moulding of a plain bead and small echinus, surmounted by a narrow tenia or broad fillet. In more decorated examples, as that of the Erechtheum, the face of the architrave is divided into three surfaces or courses, called _faciæ_, which very slightly project before or overhang each other, and the moulding between the architrave and frieze is increased in depth; there is a greater number of mouldings, and some of them are enriched by being carved, or, as it is termed, _cut_.

As to the Ionic frieze, triglyphs being discarded for it, and no other characteristic members substituted for them, it becomes no more than a plain surface interposed between the architrave and cornice, unless,—as is now never done, although it was, in all probability, generally done by the Ancients,—it is enriched with figures in bas-relief or other sculpture. Yet as _mere_ sculpture of that kind, however essential to effect, is not taken into account, or considered to belong even to the character of an Order, but to be something quite extraneous that may either be introduced or omitted at pleasure, it is omitted accordingly; whereby the frieze is reduced to a mere blank surface, which leaves nothing more to be said concerning it.

The Ionic cornice affords but little scope for further observation, more particularly in the Athenian examples, in which it consists of little more than the _corona_ and cymatium above it, and some narrow _bed-mouldings_ beneath the former member, partly got out of its hollowed soffit or under surface. Consequently the whole cornice looks rather meagre and poor, especially if the richer form of capital with a necking to it be employed for the columns. In such case there is no corresponding degree of richness and increased importance in what is, nevertheless, the completing member or division of the entire Order, and ought accordingly to be treated as such. On this account we hold the cornice of the Erechtheum example to be very unsatisfactory, and to derogate from what is the character of the Order in all other respects: while the capital is particularly ornate, luxuriant, and complicated in design, the cornice, which, as has been before remarked, is to be considered as the capital of the entire Order, is particularly simple and severe; and owing to the want of a sufficiency of bed-mouldings beneath it, the corona appears to jut out too abruptly immediately over the frieze, without due preparation for it. Were the frieze sculptured, such enrichment would, perhaps, without any thing further, confer an adequate degree of ornateness upon the whole entablature, and bring it into keeping with the highly finished columns. If, on the contrary, the frieze is to be left plain, the best way would be to reduce its height a little, and perhaps that of the architrave also, and enlarge the cornice by introducing _dentels_ into it. These last-mentioned members,—which, although considered by modern writers to be characteristic of the Ionic Order, and to be to its cornice what _mutules_ are to the Doric, and _modillions_ to the Corinthian, do not appear to have been so regarded by the Greeks themselves,—consist of a series of narrow upright blocks (supposed to represent the ends of joists), placed closely together, so that the spaces between them, which are only about half as wide as the blocks themselves, appear to _indent_ that portion of the cornice, which, when introduced without being so ornamented, is called an uncut _dentel band_.

The Priene example, to which we referred when speaking of Ionic bases, offers what, in our opinion at least, is a far better model for an Ionic cornice than that of the Erechtheum, and which, with perhaps some modification of it, might very well be applied to the more florid Athenian Order; and though to do so would be contrary to _precedent_, that would matter little, so that the change itself were in conformity with artistic effect and æsthetic principles.

The Temple of Jupiter at Aizani in Asia Minor exhibits a remarkable example of the Ionic Order, the details of which were recently published, for the first time, by M. Texier. In its general conformation the base resembles the Priene example; but the entablature is quite different. The architrave is divided into three faciæ, separated by a cut moulding; and the upper faciæ is surmounted by an exceedingly deep and highly enriched course of mouldings. The frieze, too, is ornamented in a very unusual fashion, acanthus leaves being placed upon it at intervals, somewhat after the manner of triglyphs, and connected together with scrolls. The cornice has both dentels and modillions and a narrow corona, but a deep cymatium or epitithedas, enriched with carving.

We will not pursue our notice of the Greek or Ancient Ionic any farther, but here conclude it with observing, that notwithstanding its decided superiority to the Roman, &c., especially in its capital, the former has not been adopted by the Italian and French Architects of the present day. In this country, on the contrary, the Greek Ionic has been employed almost to the entire exclusion of the other, from the time of its being first made known to us by means of Stuart and Revett’s ‘Antiquities of Athens,’ and the ‘Ionian Antiquities;’ to which publications may be added the ‘Unedited Antiquities of Attica,’ which contains other specimens of the Order, found at Eleusis, remarkable for their refined simplicity and also their gracefulness. Not the least important lesson to be derived from these and similar publications is, we permit ourselves to say, the learning from them that the Greeks treated their Orders with artistic spirit and freedom, conforming to a certain type or general standard for each, but varying their details and modifying their proportions.

For examples of Grecian Doric and Ionic which may be seen in London, and which the student would therefore do well to look at and carefully examine for himself, since he will from these learn more than he possibly can do from books alone, we refer to the following buildings: for Doric, the _tetrastyle_ portico of Covent Garden Theatre, and the _hexastyle_ one of the Colosseum in the Regent’s Park; which latter shows the Order to much greater advantage than the other, owing to its being free from such disturbing and very un-antique additions as several doors and windows within it, which inevitably destroy all breadth and repose;—it has also the advantage of a west aspect, by which the full effect of light and shade is produced. For Ionic examples, we refer to St. Pancras’ Church, New Road, whose order is a faithful transcript from that of the Erechtheum; the same building also affords an instance of the application of a caryatid order of female figures in the porch, or rather the porch-like structure, on its north and south sides,—the idea of which is taken from a similar small structure attached to the Athenian Temple;—the University Club House, Pall Mall East, where the same Order is applied upon a much smaller scale, and raised upon a basement floor;—the Chapel in South Audley Street;—the portico of the Post Office, and the façade of the British Museum;—the portico of the College of Surgeons, Lincoln’s Inn Fields, whose columns, proportioned according to the Ilissus example, were originally plain, but were fluted, and the mouldings of the entablature cut, when the building was altered and greatly improved some years ago, by Mr. Barry;—the portico of Hanover Chapel, Regent Street, which, as the reader is already aware, shows the Priene Ionic;—and lastly, for we will not further extend this list, the portico of the India House, Leadenhall Street, which is remarkable for its frieze being sculptured, and its pediment also filled in with figures in relief. Of similar decoration for the Doric Order we cannot point out any instance here, both the metopes of the frieze, and the pediment, being left plain in all our English specimens of that Order.

ROMAN AND MODERN IONIC.