Essay on the Architecture of the Hindus c4.s1: Of Pedestals
Essay on the Architecture of the Hindus c4.s1
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- English
Of Pedestals
c4.s1.1
Hindú architects have invariably taken the dimensions of their pedestals from those of the bases to which they are attached; but as to the number of parts to be given to the height of pedestals, with reference to the number of parts contained in the base, there exists a multiplicity of contradictory rules. On this subject *Mánasára*, our principal guide, expresses himself in so obscure a manner, that I must acknowledge my inability to understand him thoroughly. He, however, appears to prescribe a greater variety of heights and projections to pedestals than any other author. He divides the pedestals into three sorts, according to the magnitude of the edifices in which they are to be employed, and makes their height, if I understand him rightly, to consist of from one-quarter to six times the height of the base, and their projections as far as one-third of their own respective heights. But such a loose manner of prescribing rules for the dimensions of architectural members must be considered objectionable, and but little compatible with science and taste.
c4.s1.2
In a Tamil fragment of a manuscript, purporting to be a translation of *Máyámata*, it is said—“The height of the shaft or pillar is to be divided into four parts, and one to be given to the base, which may or may not be accompanied by a pedestal; and in the case where a pedestal is joined to the base, the height of the pedestal may be either equal to that of the base, or twice or three times as much.” Here, the greatest height given to a pedestal, namely, “three times” that of the base, is equal to a little more than a third part of the highest column, which is not perhaps a bad proportion.
c4.s1.3
According to *Mánasára*, there are three kinds of pedestals; of which the first is called *védibhadra*, the second *pratibhadra*, and the third *manchabhadra*. Each of these are again divided into four sorts, making in all twelve, and each differing from the other in formation and in its ornaments, whatever may be its height in regard to the base with which it is connected. The remainder of this chapter is taken up with a detailed enumeration of the parts composing the different sorts of pedestals, but as I have marked the proportions in the designs themselves (Plate I.), it would be superfluous to specify them in this place. To enable the reader, however, to form a judgment on the original rules from which the drawings are made, the following extracts respecting the three principal kinds of pedestals are submitted.
c4.s1.4
“The height of the *upapítha* (pedestal) being divided into twenty-four parts, let five be given to the *upána*,[^asterisk] one to the *campa*,[^\dagger] twelve to the *cantha*,[^\ddagger] one to the *campa* again, four to the *paṭṭica*,\S and one to the *campa* above.” This refers to the first sort of pedestal of the kind called *védhibhadra*. Fig. 1.
c4.s1.5
\S Platband. [^\parallel]: Cima reversa.
c4.s1.6
“Divide the height of the *upapítha* into twenty-six parts, and let three be given to the *upána*, one to the *campa*, two to the *padma*,[^\parallel] one to the *campa*, eleven to the *cantha*, one to the *campa*, two to the *padma*,\P three to the *capóta*, one to the *álinga*, and one to the *antarita*.” This refers to the first sort of the pedestal called *pratibhadra*. Fig. 5.
c4.s1.7
\P Cima recta. [^asteriskasterisk]: A fabulous animal. [^\dagger\dagger]: Lion.
c4.s1.8
“Let the height of the *upapítha* be divided into thirty equal parts, give three to the *upána*, a half to the *campa*, three to the *mahambuja*, a half to the *campa*, two to the *candhara*, a half to the *campa*, a half to the *cshudrapadma*, two and a half to the *capóta*, two to the *prativájina*, eight to the *gala*, one to the *uttara*, a half to the *campa*, a half to the *padma*, three to the upper *capóta*, and two and a half to the *álinga*,” &c. This refers to the first sort of the pedestal called *manchabhadra*. Fig. 9.
c4.s1.9
This chapter closes with rules respecting the projection of the highest and of the most prominent parts of the pedestal, &c. &c. in these words: “The projection of the base or *upána* is equal to its height, or two, three, or four times as much more than its height; that of the *padma* is also equal to or twice as much as its height; and that of the *cumuda* or the *capóta* is always equal to, or something less than its own height. The *padma* should be ornamented with the petals of the lotus, the square fillets with forms of gems, blossoms, foliages, &c., and the *cantha* with figures of *vyálas*,[^asteriskasterisk] *sinhas*,[^\dagger\dagger] or of leaves, flowers, and the like.”
c4.s1.10
[^asterisk]: Plinth. [^\dagger]: Fillet. [^\ddagger]: Dado.