Arthur Stratton · Series XIV. Triumphal Arches, Gateways and Porches
Plate XCIV. Porches
Plate XCIV. — A simple porch with pediment is shown in No. I, in which the columns are disengaged and stand either close in front of pilasters, as shown in plan and section, or at a distance from them not exceeding three-quarters of their distance apart, as shown in plan and section No. II, the elevation being unchanged. The elevation and section of a simple porch following in principle the type of No. I, but without a pediment, is given in No. III, the plans No. II applying equally to it. Nos. IV and V show the plan and elevation of a porch having four columns in front, and No. VI the plan of one with four columns in front and one on each return, giving a richer effect when viewed in perspective. Plan No. VII shows a disposition of three bays formed of coupled columns standing in front of pilasters engaged with the main wall: this is especially suited to lengthy facades, and a notable example of its application occurs in the work of John Nash at No. 29 Dover Street, W. The plan of a semi-circular porch designed to mask a double entrance and at the same time to preserve its entity as a single feature is given in No. VIII. The elevation of a projecting porch with columns engaged at the angles is given in No. IX. It is a type suited to conditions where an effect of strength is needed, and may be used when an inner vestibule is required.
Students should avoid multiplying unnecessary features in the design of porches, and should eliminate as far as possible heavy rustications, key-stones, festoons, and other decorations, which tend to detract from the simplicity of expression which is desirable. The design of entrances on a large scale, such as the river entrance to Somerset House (Plate LXXXV), detached gateways (Plate XCIII), and features in open screens (Plate XCVII) demands separate study.
Public-domain text (1925), transcribed from the archive.org OCR of the first edition and cleaned for reading: line-end hyphens rejoined, running heads, page numbers and the captions of the text figures removed, and obvious misreadings corrected. Stratton’s hundred plates are not reproduced, nor their engraved captions or the index to the illustrations; each Series is divided at his commentary on each plate, and the chapter titles follow the plate headings. The live figures are this book’s own.