Another practice was eventually adopted, by means of which the arch and column became amalgamated as integral parts of the same ordinance, namely, that of supporting arches upou columns, making them spring either directly from their capitals or from an entablature. shaped block over them. This practice is commonly condemned as barbarous, but in our opinion somewhat too hastily, and with more of prejudice than of fair examination. That it was introduced during the decline of the art, and that it was an innovation subversive of former principles, is not to be denied. Yet if it must be reprobated, it ought to be so for its own demerits, not as an innovation : for all invention is such. It appears a very poor argument against it, to say that columns were originally designed to support horizontal archi traves : we do not see how that circumstance, of necessity, renders every other application inadmissible. Where columns are employed to support, it certainly cannot be alleged that they are idle unmeaning expletives ; nor that they are mutilated by being apparently partly embedded in the wall behind them. One very great advantage attending the combination of the arch with the column as its support, is that it allow, the openings to be considerably wider than they other wise could bo, because such intervals as would produce a poor and straggling effect in a colonnade, become well proportioned and agreeable when spanned by arches.
Of the two Grecian orders, the Roman specimens usually referred to, namely, the Doric of the theatre of Narcellus, and tho Ionic of that building and the temple of Fortune are exceedingly poor and meagre, spiritless and tasteless ; while the Ionic of tho temple of Con cord may be pronounced detestable. In this last example the volutes of the capitals are turned diagonally, a mode afterwards adopted by Scamozzi for that order, and also practised in what is called the Com posite. Even when comparatively pleasing in its contours, the Roman Ionic capital is poor and devoid of expression, in consequence of the smallness of the volutes, which is such that they almost cease to be characteristic features of the order. To this defect may be added the meagrenees arising from the few revolutions mado by the spirals, and the omission of intermediate once ; and also the harshness occasioned by the great projectiou of tho ovalo, the narrowness of tho face of the capitol above it, and by that part forming a,straight line, instead of the graccfully-flowiug festoon-hem which unites the volutes together in all the Athenian mpecimene of the order. Numerous studies of both voluted and foliaged capitals may be seen in Pirauft4's Magnificenza de' Romani ; ' and the variety of composition displayed iu the Latter very greatly exceeds what would be imagined by those who are acquainted only with what are referred to as standard examples of that order. This last rosy in fact be emphatically denominated the Roman
order, although such distinctive title is usually applied to what is other wise called the Composite, but which is only a variety of the foliage mpitelled clams, and by no menus the most striking as such, there hong instances of compouud capitals, in which griflIna, eagles, human Figures, or masks, are introduced above the foliage ; consequently, if voluted variety is to bo received as a separate order, each of the others is quite as much entitled to the seine distinction. How far the ordinary Corinthian capital differe from that in which tho small solutes, or caulicoli, at the angles of the abacus are developed, and en larged to the size of those of the Roman Ionic capital, may at once be sceu sy referring to COLT: UN, col. 33, where a half of each example is placed in juxtaposition ; and at col. 45 will be found a similar comparison between the capitals of the Tivoli Corinthian and that of the monument of Lysieratee. The contrast presented by the two last is striking mough, there being no similarity of character, but merely !inch degreo If resemblance as serves to mike the differences the more obvious.
And if that Tivoli example be compared with the one shown in the Alter cut, and which may be received as an average sample of the neler, It will be tolerably evident, even from such comparison alone, hat the foliaged capital was treated by the Romans in a variety of nodes and in a free artistica] spirit. Neither aro such distinctions ionfined to the capitals alone, for diffurent examples present equal diversity in their entablatures and cornices. That of the Tivoli emple in remarkable throughout ; and has such a peculiar character 'tamped upon it, that it almost deserves to be considered a separate irder—certainly much more so than the Composite. Among other !xamplee, that of the three columns of the temple of Jupiter Stator s the richest and most elegant in its capital, and is beautifully com need throughout. Tho Romans in fact bestowed as great diversity of character and ex on upon this order, as the Greeks had done upon their Doric and Ionic.
For Information respecting Roman buildings adapted to particular purl the reader is referred to the articlea AHCII, TRIUNCIIAL ; .Aurnisnsaysz; Atarence-r • P owes.; BATHS ; PORCH ; MAURO