o their length, and, in a word, when they
all correspond symmetrically.

4. Symmetry is a proper agreement between the members of the work
itself, and relation between the different parts and the whole general
scheme, in accordance with a certain part selected as standard. Thus in
the human body there is a kind of symmetrical harmony between forearm,
foot, palm, finger, and other small parts; and so it is with perfect
buildings. In the case of temples, symmetry may be calculated from the
thickness of a column, from a triglyph, or even from a module; in the
ballista, from the hole or from what the Greeks call the [Greek:
peritretos]; in a ship, from the space between the tholepins [Greek:
(diapegma)]; and in other things, from various members.

5. Propriety is that perfection of style which comes when a work is
authoritatively constructed on approved principles. It arises from
prescription [Greek: (thematismo)], from usage, or from nature. From
prescription, in the case of hypaethral edifices, open to the sky, in
honour of Jupiter Lightning, the Heaven, the Sun, or the Moon: for these
are gods whose semblances and manifestations we behold before our very
eyes in the sky when it is cloudless and bright. The temples of
Minerva, Mars, and Hercules, will be Doric, since the virile strength of
these gods makes daintiness entirely inappropriate to their houses. In
temples to Venus, Flora, Proserpine, Spring-Water, and the Nymphs, the
Corinthian order will be found to have peculiar significance, because
these are delicate divinities and so its rather slender outlines, its
flowers, leaves, and ornamental volutes will lend propriety where it is
due. The construction of temples of the Ionic order to Juno, Diana,
Father Bacchus, and the other gods of that kind, will be in keeping with
the middle position which they hold; for the building of such will be an
appropriate combination of the severity of the Doric and the delicacy of
the Corinthian.

6. Propriety arises from usage when buildings having magnificent
interiors are provided with elegant entrance-courts to correspond; for
there will be no propriety in the spectacle of an elegant interior
approached by a low, mean entrance. Or, if dentils be carved in the
cornice of the Doric entablature or triglyphs represented in the Ionic
entablature over the cushion-shaped capitals of the columns, the effect
will be spoilt by the transfer of the peculiarities of the one order of
buildin