Essay on the Architecture of the Hindus c4.s16: A Gópura Consisting of Twelve Stories

Essay on the Architecture of the Hindus c4.s16

Language: English

A Gópura Consisting of Twelve Stories

"The height of the gate-pillars is three-quarters of the breadth of the plan, and it being divided into five parts, two to be given to the pedestal, one to the base, and two to the pillar. The upper part is equal in height to twice the breadth of the ground-plan; and the same being divided into eighty-five parts, three and a-half to be given to the entablature of the first story; seven to the pillar, three and a-half to the entablature of the second; six and a-half to the pillar, three and a-half to the entablature of the third; six to the pillar, three to the entablature of the fourth; five and a-half to the pillar, two and three-quarters to the entablature of the fifth; five to the pillar, two and a-half to the entablature of the sixth; four and a-half to the pillar, two and a-half to the entablature of the seventh; four to the pillar, two to the entablature of the eighth; three and a-half to the pillar, one and three-quarters to the entablature of the ninth; three to the pillar, one and a-half to the entablature of the tenth; two and a-half to the pillar, one and a-quarter to the entablature of the eleventh; two to the Having given the proportions of the different parts of pyramidal temples and gateways, we may be permitted to indulge in a few words relative to their general appearance, and to the ideas which this is calculated to impress on the mind.

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An eminent author makes the architectural sublime to consist "in magnitude, height of the buildings, and solidity of the materials;" another author, "in splendour, magnificence, and an imposing appearance." These characteristics of the sublime, most of the Indian temples possess in an eminent degree, independently of that sort of light betwixt gloom and glare which increases the sublimity in architecture; and in beholding these majestic and stupendous works, we are struck with admiration and respect, and animated with emotions of piety, virtue, and religion.

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If we enter into the minutiæ of the art, which solely depend on scientific proportion, and on the skilful application of mechanic powers, we are led to wonder at the success of the artist in his attempts at the sublime, and to express our astonishment at the physical powers employed in the superstructure.

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Of all the modes of building invented by man, the pyramid seems to be best calculated to produce these impressions. It must be acknowledged, however, that the pyramidal buildings of India are of much less dimensions than those of Egypt, and that the former have too great a profusion of ornaments. If we examine the exterior of these temples, we should discover with what skill the bulk of the edifice is shewn to advantage, and how admirably the parts are formed for the eye to embrace the whole, at the same time that the sight is bewildered with the infinite variety of decorations. The interior, also, is so constructed as to cast over it a visible oblivion, that indispensable requisite of the sublime.

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I shall now close this essay, with the following short account of the mode of preparing *chunam*, or cement, as practised by the artists in India.

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*Chunam* is prepared in the interior of India from a gravelly sort of limestone dug out of quarries, and along the coast from shells washed out of salt-water marshes. Of the two, the shell *chunam* is generally considered the strongest and most durable. The following is the mode of preparing stone *chunam*: The pebbles or gravel stones are first beat with wooden pestles, to separate the alluminous clay which adheres to them; after they are thus cleaned, they are sorted, as of a white or brown quality. In some places the stone is burnt by simply laying alternate layers of stone and charcoal on the ground, in the proportion of two parts of charcoal to one of stone, and thus allowed to burn out. The stone, after being burnt, is slacked by laying small quantities in heaps and throwing water on them; and as soon as the heat begins, the whole is mixed up together and stirred about till it is reduced to a dry powder. The lime is now considered fit for the use of the builder. Shell *chunam* is manufactured much in the same way, excepting that it is again cleansed by the manufacturer in a dry state, by strewing it down against the wind, after the manner that corn is winnowed to separate the chaff. The burning, also, is differently performed: the charcoal is mixed up with the shells, and burnt in large open kilns, with a grated bottom and longitudinal flue, communicating with four or more lateral openings. The stone *chunam* forms a coarse sandy powder, and the shell a very fine impalpable one. From these two substances all the mortar for building throughout India is prepared; they are mixed with clean sharp river sand in various proportions, according to the use for which they are intended. For brick work, from one part and a-half to three of sand is mixed, with one or two of the fine slacked lime; for the coarse undercoat plastering, from one to two of sand with two of lime; and for the last and fine upper coating, two to three of sand with one of lime. When the mortar is prepared for the brick work in rough plastering, it is simply beat up with pure water in long stone troughs, with wooden pestles about a yard and a-half long and shod with iron hoops. *Chunam* intended for fine plastering and ornamental works is ground by women, on an oblong granite stone and a cylindrical upper stone about four inches in diameter; the mixture is sometimes ground two, three, and four times, to bring it to the required fineness and purity.

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In all the operations of *chunam* work, *jaggery* water, i. e. a solution of molasses or coarse sugar, is invariably added by the builders, and its use appears to have prevailed from the remotest ages. There are various opinions among the modern practitioners regarding its usefulness, but those who have had the most extensive practice in building, hold it as an indispensable ingredient in the formation of a durable and hard cement; and it is stated that the operator evidently perceives the dissolvent property of the *jaggery* water, on its being tempered with the prepared mortar. It is supposed that it tends very much to the intimate union of the coarse particles of the lime with the sharp sand, on account of the saccharine acid in the molasses, and the gaseous principle of its earthy parts, causing a quicker chemical induration of the mortar than would be effected by mere application of pure water conjoined with the absorption of the hardening substance of the atmospheric air.

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FINIS.