PAPER.

to color, it is principally distinguished into white, blue, and brown; and with regard to its dimensions, into atlas, elephant, imperial, super-royal, royal, medium, demy, crown, post, foolscap, pot-paper, &c. Wove pa per is made in moulds, the wires of which are so fine that the marks of them are scarcely visible. Blotting paper is made of woollen rags, and without size. Pasteboard is made in a similar way to that of paper; when it is wanted very thick, it is made by pasting the sheets of one upon another. Mill-board, used for covers of books, is made at once of very coarse rags, or old ropes, &c.; of which also brown paper is made. Besides paper from these materials, it is also occasionally made from straw a Mr. Koop, in 1820, obtained a patent in England for straw paper. In the Maldive Islands, the natives are said to write on the leaves of a tree called macarequean, which are a fathom and a half long, and a foot broad; and in divers parts of the East Indies, the leaves of the musa paradisiaca or plantain tree, dried in the sun, served the same use, till of late the French taught them the use of European paper.

The process of paper making takes about three weeks. The greatest modern improvement in paper-making is the bleaching of the rags. This is done by different methods; one of the best consists of an air-tight chamber in which the rags are placed; a mixture of manganese, sea salt and sulphuric acid being heated in proper retorts to a certain extent, a gas is disengaged, which destroys all the color which the rags contain.

The machine for fabricating the paper from the pulp has been simplified, so that an immense saving of labor has been thus obtained.

Another improvement in the manufacture of paper has been made in the United States, by Messrs. Gilpin & Co. who have invented a machine by which paper of any length, in one continued succession of fine or coarse materials, may be produced.

Egyptian paper is that which was principally used among the ancients; made of a rush called papyrus, or biblus, growing chiefly in Egypt about the banks of the Nile; though it was also found in India; and Pliny describes the papyrus or paper rush as having a root of the thickness of a man's arm, and ten cubits long; from this arise a great number of triangular stalks, six or seven cubits high, each thick enough to be easily spanned. Its leaves are long like those of the bulrush; its flowers staminous, ranged in clusters at the extremities of the stalks; its roots woody and knotted like those of rushes, and its taste and smell near to those of the cypress. The moderns have arranged the papyrus under the genus cyperus, or cyper-grass, and thus designate it; cyperus papyrus, or paper rush, having a three-sided naked culm, umbel longer than the involucres; involucels three-leaved, setaceous; spikelets in threes; a native of Ethiopia and Egypt. This tribe of plants contains numerous species, many of which have fragrant roots.

Marbled paper is paper stained so as to appear in variegated colors like marble. The operation of marbling is thus performed; gum is first dissolved in a trough, into which they plunge each sheet of paper; this done, and all the colors ranged on the table, where also the trough is placed, they begin by dipping a brush of hog's hair into any color, commonly the blue first, and sprinkle it on the surface of the liquor. The red is next applied in the like manner, but with another pencil,

ARCHITECTURE.

after this, the yellow, and lastly the green. When all the colors are thus floating on the liquor, to produce that agreeable marbling which we admire, the floating colors are curled and otherwise tastefully varied with a pointed stick; to these the surface of the paper is applied.

Ivory paper is a paper lately invented by Mr. Einslie, to be used instead of ivory for drawing and miniature painting, and is said to be superior to ivory itself. It consists in the preparation of a size from the cuttings of parchment, uniting, by a similar size, several sheets of drawing paper, and afterwards covering it with the size, having previously mixed it with some plaster of Paris in fine powder. Plaster of Paris gives a white; but oxide of zinc mixed in proper proportions, gives a tint nearly resembling ivory.

ARCHITECTURE. Architecture is the art of building, or the science which teaches the method of erecting buildings, either for habitation, defence, or ornament. It is an art of the first necessity, and almost coeval with the human species. Man, from seeking shade and shelter under the trees of the forest, soon felt the necessity and saw the utility of bending them to more commodious forms than those in which he found them disposed by nature. To huts made of trees and branches leaning together at top, and forming a conical figure, plastered with mud, succeeded more convenient, square, roofed habitations; the sides of these habitations, and the inner supports of the cross beams of the roofs, being trunks of trees; from them were derived those beautiful and symmetrical columns, the orders of Architecture.

Although this art was cultivated by the ancient Egyptians, Assyrians, and Persians, yet the Greeks justly claim the honor of having raised the first structures in which elegance and symmetry were combined with comfort and convenience in the plan.

The established five orders of architecture, the Tuscan, the Doric, the Ionic, the Corinthian, and the Composite, were brought to perfection under the Greeks and Romans. Modern efforts have added little or nothing to the beauty and symmetry of these columns, and the parts dependent on them, but much has been done in the internal improvement of mansions and houses.

THE FIVE ORDERS OF ARCHITECTURE.

HIII

B

From the above, the reader will be able to form but an indistinct con

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ception, of the beauty of those ornamental columns, which in both ancient and modern times have excited the admiration of even the unlearned, and the uncultivated portion of mankind, which have had an opportunity to see them. A better conception will be had of the different orders of architecture from the following cuts, which stand in the same order as the above, and represent the Tuscan, Doric, Ionic, Corinthian, and Composite.

TUSCAN ORDER. Although there are no ancient remains of this order, it is generally placed first on account of its plainness. The Trojan and Antonine columns at Rome are commonly called Tuscan, though they do not exhibit Tuscan plainness. It is probable the Tuscan is only a simplification of the Doric, of which there are numerous ancient remains; but to Tuscany it evidently owes its name.

DORIC ORDER. The origin of this order is ascribed to Dorus, who built a temple to Juno, in the ancient city of Argos. This order has a masculine grandeur, and a superior air of strength to either of the other Grecian orders, viz. Ionic and Corinthian. It is therefore best adapted to works of great magnitude, and of a sublime character. Of this order is the temple of Theseus at Athens, built ten years after the battle of Marathon, and at this day almost entire.

IONIC ORDER. The distinguishing characteristics of this order are lightness and elegance. It is likewise simple; for simplicity is an essential requisite of true beauty. Of this order were the temple of Apollo at Miletus, the temple of the Delphic Oracle, and the temple of Díana at Ephesus.

CORINTHIAN ORDER. This is considered the finest of all the orders. It has been styled the "virginal order," from the delicacy, tenderness, and beauty of the whole composition. Exceptions, however, have been taken to it, it being thought to savor too much of pomp and splendor

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and to mark an age of luxury and magnificence. Thompson has well
characterized the three orders in the following appropriate lines:
"First unadorned,

And nobly plain, the manly Doric rose;
The Ionic, then, with decent matron grace,
Her airy pillar heav'd; luxuriant last

The rich Corinthian spread her wanton wreath."

The most correct specimens of this order that remain in existence are to be collected from the Stoa, the arch of Adrian, the monument of Lysicratus, at Athens, the Pantheon of Agrippa, and the three columns of the Campo Vaccino at Rome, particularly the last.

COMPOSITE ORDER. This order is what its name implies: it shows that the Greeks had in the three original orders exhausted all the principles of grandeur and beauty, and that it was not possible to form a fourth, except by combining the former.

GOTHIC ARCHITECTURE. To the above five orders was afterwards added another, called the Gothic or Saracenic, the marks of which are its numerous and prominent buttresses, its lofty spires and pinnacles, its large and ramified windows, its ornamented niches and canopies, the sculptured saints and angels, the delicate lace-work of its fretted roofs, and an indiscriminate profusion of ornaments. But its most distinguishing characteristics are the small clustered pillars, and pointed arches, formed by the segments of two intersecting circles.

Of Gothic architecture, the continent furnishes some fine specimens, but the best examples, it is said, are to be found in England. In the edifices of that country, the whole progress of this style of architecture can be traced. The period from 1272 to 1400 marks the golden age of the Gothic. From the time of Henry VIII. this style began to decline. This was succeeded by a mixture of the Grecian and Gothic. In the sixteenth and seventeenth centuries, the chaste architecture of the Greeks and Romans was revived. The first improvements took place in Italy, whence they passed into other parts of Europe, and though the Italians were long accounted the first architects, England produced Inigo Jones and Sir Christopher Wren, who hold the most exalted station.

The banqueting-house at Whitehall; queen Katharine's chapel at St. James'; the piazza of Covent Garden, and many other public buildings, are monuments of the taste and skill of Inigo Jones.

The churches, royal courts, stately halls, magazines, palaces, and public structures designed by Sir Christopher Wren, are proud trophies of British talent. If the whole art of building were lost, it might be again recovered in the Cathedral of St. Paul, and in that grand historical pillar called the Monument. To these we superadd Greenwich Hospital, Chelsea Hospital, the Theatre at Oxford, Trinity College Library, and Emanuel College, Cambridge, the churches of St. Stephen in Walbrook, St. Mary-le-bon, and fifty-two others in London, serve to immortalize his memory. While we contemplate these, and many other public edifices erected and repaired under his direction, we are at a loss which most to admire the fertile ingenuity, or the persevering industry of the artist.

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