As for the Composite capital, the Academy especially discussed the ranking of the Corinthian order and the Composite order in the system of five orders, and the proportion of the heights of the lower three layers under the abacus. For the question of hierarchy, the Academy thought that the two orders had the same proportion but had the different details such as olive leaves for the Corinthian order and acanthus leaves for the Composite order. For the proportion of the three layers, the Academy accepted the same proportion as tha capital of the Arch of Titus in Rome and as the Corinthian capital. So, for the Academy, the two orders were different in character, but identical in proportion.

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As a result of the studies on the way of proportioning the architectural orders in James Gibbs's "Rules for Drawing the Several Parts of Architecture" (London, 1732), the present author has already pointed out the relationship between Gibbs's proposed method of dividing a part into equal units and his propotional system of order. Gibbs mainly discussed the methodology of his divisions, but scarcely referred to the problem of proportion in his book. Therefore, his system of proportion has not so far been examined to its minutest details. Gibbs says in "To the Reader" of his book, "And having tried one Order with success, I proceeded to another, till at length I was satisfied it would'answer my intention in all'. This sentence, of course, implies the efficacy of his method, and it appears to suggest that he established his propotional system of orders by making use of his dividing method, although he did not explain the process clearly. The present paper inquires into the composition of the whole proportional system of Gibbs's five orders and consists of the following four sections : #1 Gibbs's description of the division of the Tuscan order #2 Analysis of the proportional system on the basis of the division ratio #3 Relationship arisen from the division of essential parts #4 Relations of the proportional systems in Gibbs's five orders From his description about proportiong of the Tuscan order, Gibbs starts with dividing the given length into several equal units and allotting some of them into components of an order. His method can be understood through the dividing number (the number into which a part is divided in its height and projection) and the division ratio (the ratio of one component to another). Thus, the dimension of each component is not determined by modules, but is expressed by the division ratio. In this dividing process, at first the whole height of an order is divided into three "principal parts," such as pedestal, column and entablature (shown by capital letters in Figure 1), and secondly each principal part is subdivided into the "essential parts,'.' such as architrave, frieze, and cornice (shown by asterisks in Figure 1), and finally the "members," fillet, cima recta and cima reversa, (shown by small letters in Figure 1) are allotted in the essential part. The division ratios derived from his divisions of the five orders are shown in Table 1. There are differences in the usage of the division ratios between the Tuscan and Doric orders, and the Ionic, Corinthian, and Composite orders, when the principal and the essential parts are proportioned. In the case of the division of members, an individual ratio is applied to a specific combination of members regardless of the type of the order, or determined in relation to the essential part and the type of the order. Therefore, the division ratios of members have freer and more various relations with orders than those of the principal and the essential parts, as the Ionic order has relation not only to the Corinthian and Composite orders, but also to the Tuscan and Doric orders, and does not belong to both. As a result of the comparisons of the procedure of division, the division ratios and the composition of the essential part between different orders, the present author found four types of relationship in proportioning the essential parts, such as follows : i) The essential parts of an order are composed by combining portions of the corresponding essential parts of other orders. ii) The essential parts of an order are made by adding some members to portions of the corresponding essetial parts of other orders. iii) The essential parts of an order are made by changing the division of the corresponding essential parts of other orders, though the members themseves are hardly altered. iv) ii) and iii ) are partially

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As for the Corinthian capital, the Academy discussed especially the total height of the capital and the proportion of heights of the three layers under the abacus. For the total height, Vitruvius' 2 modules was denied, and 2 modules 1/3, the measurement formulated in the Italian Renaissance, was admitted. But, taking the case of the pilaster into consideration, the Academy permitted a greater height, 2 modules 2/3. For the proportion of the three layers, in the first period(1671-1715), the Academy denied that of Vitruvius and admired that of the Corinthian capital of the Pantheon or the Temple of Castor. But in the second period(1734-1750), Tanevot proposed his original proportion that was different from the former two proportions.

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James Gibbs (1682-1754) seems to have referred to some architectural books of the Italian Renaissance in the process of establishing his proportional system of the orders described in his Rules for Drawing the Several Parts of Architecture (London, 1732). Andrea Palladio was quoted twice in his book and he kept in his library the books by Alberti, Cataneo, Palladio, Scamozzi, Serlio and others, which were later bequeathed to the Radcliffe Trustees in 1754. Moreover, Gibbs already said in the "Introduction" of his earlier work, Book of Architecture (London, 1728), "...these Designs should be done in the best Tast (taste) I could form upon the Instructions of the greatest Masters in Italy". It has so far been pointed out that Palladio's influence was evident in the Rules for Drawing and Gibbs's library played an indispensable role in his architectural practice. But the argument for how much Gibbs depended on Italian architectural books including Palladio seems not to have been discussed thoroughly. Taking it into consideration that Gibbs criticized the modular system which was commonly adopted in the late Renaissance, books such as Vignola's regola delli cinque ordini d'architettura (1562. Gibbs did not have the book, but C. A. Daviler's Cours d'architecture qui comprend les orders de Vignola was included in his possession), Palladio's I quatro libli dell'architettura (1570. Gibbs had an edition of 1601 published in Venice and also an English version of 1715) and Scamozzi's I'idea dell'architettura universale (1615) must have been good guides for his studies of the orders. The present author would like to inquire into the comparisons of Gibbs's orders with those of the above-mentioned architectural books of the Italian Renaissance and also with Perrault's Ordonnance des cinq especes de collones selon la methode des anciens (1683. Gibbs kept an English version of 1708), which was regarded as having an effect on the method of propotioning the order in the Rules for Drawing. This present paper consists of the following three sections '. $1 Proportional comparisons between the principal parts, and the essential parts of the order $2 Compositional and proportional analyses of the essential parts $3 Comparisons of the profiles of Palladio, Vignola and Gibbs. The result of the comparison of the heights of the column (Table 1) shows that Gibbs's system completely coincides with that of Vignola's. The progression of the column heights is not necessarily equivalent to that of Palladio's, but the proportion of the entablature to the column corresponds with that of Palladio's and Scamozzi's. In the proportional comparisons of the essential parts of the entablature (Table 2), Gibbs's ratios often accord with Perrault's, Vignola's or both of them. However, Gibbs's manner of proportioning the pedestal is different from that of the Renaissance sources. Furthermore, each author varies in the proportion of the pedestal to the column, and he adopts his own ratio of one essential part to the others (Table 3), except that Perrault and Gibbs fix the ratio between cap, dado and base regardless of orders. The comparative analyses of components of the essential parts of the order shows that Gibbs coincides with the Renaissance authors in allotting the cornice, capital and base of the column (Table 4, Figs. 1-5, 7). It is probable that Palladio and Vignola also would have been much more referred to than the others. But Gibbs does not imitate them directly for he changes the details of the mouldings, for example, the projection of members like corona and the thickness of fillets. Especially the compositional and proportional relationship of the Ionic and Composite architraves and capitals is characteristic. His Ionic architrave has two fascias, whereas all the

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Superimposition of ordres was an important subject for the Academy, while colossal order was denied in the name of beauty and convenience. For the proportion of the heights of two superimposed columns. The Academy denied Vitruvius' 4:3, and admired the proportion such as 16:15, or that which makes the upper column higher than in case of 4:3. The Academy's theory was based on that of the Italian architect Sea-mozzi, but usually authorized by the beautiful proportion found, for example, in the facade of the church of Saint-Gervais in Paris. The refore super-imposition of ordres was. In a sense, seen as a national feature of French architecture which was distinguished from the ancient and the Italian architecture. But it was superceded by the vague of the neo-classicism in which slant order was regarded as a characteristic of the ancient architecture.

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The examined features and meanings of the arrangement of Spolia in Sant'Agnese fuori le mura, based on the author's survey, are as follows: 1) The builders distinguished each Spolia and disposed them by its own details. 2) The arrangement of Spolia is different between two stories; at the ground floor it still has the classical tendency, whereas at the gallery it was made on the principle of "Priority of the South Colonnade' as well as "Aesthetic of Variety". 3) The difference of arrangement between two stories was programmed to show the different functions of two stories.

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The Order System of Vignola is very sinple and systematic. This is the reason why this book spread his idea all over the europe and other country. But it is the question how he had made his system, and what is the base of his system. So we must study from his descriptions on Roman architecture and analyse them. He tells us his sources of earch order, The Tuscan : Vitruvius, the Doric : Teatro di Mancello, the Ionic he says nothing, the Corinthian : Rotonda, Three columns in the Foro Romans, the Composito : he did'nt say clealy. At the first, we compared his cited source with its own, and the other case, we searched for his sources. And in this process we analyse his plates and find many things. Ceartainly, his cited sources are almost correspondent, but the proportions of details are changed. And we find the source of the Ionic : Vitruvius, the Corinthian : Arch of Titus and Septimus Severus.

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In the age of Renaissance, there are five famous books on the architectural orders; Alberti, Serlio, Vignola, Palladio, and Scamozzi. To consider the influence on Vignola, Alberti and Serlio are important, and we don't consider it without confering to Vitruvius. Direct ancestor of Vignola is undoubtedly Serlio, whoes treatise is influenced by Vitruvius and Alberti. Serlio proposed the five orders which are treated equaly, and he gave the base and pedestal to each order. His treatise contains very much illustrations to help understanding his idea. This point of view lacked in Vitruvius and Alberti, but followed. by Vignola The difference between Serlio and Vignola is also very much. The illustration of Vignola is more strict than Serlio's. The proportion of Columns and pedestals, the form of bases the composition of entablature are very different. And Vignola connects the idea of order with not only free standing columns but also arcaded loggia, so the intercolumniation became important. And at last, the corespondence with the detail of entablature and intercolumniation must be noticed.

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The authors participated in the excavation of ancient Messene in Greece in the summers from 1997 to 1999 and surveyed the architectural remains of the Grave Monument III from the Hellenistic period. In this paper they make restoration of its original form through the analysis of the measurements and drawings of the remains. As the results, the monument was built in ca.4.5 m square, and consists of platform of 3 steps, wall of 3 courses and cornice, being crowned by curved concave roof which was outstandingly unique.

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Vitruvius described four styles of columns in his DeArchitectura, namely, Doric, Ionic, Corinthian and Tuscan. It is interesting to note that he also mentioned two styles of bases, i.e., Ionic and Attic, and three styles of doors, i.e., Doric, Ionic and Attic. We now need to consider what the Attic style is. It is known that the classical five Orders, abovementioned four types and Composite one, have been established from the 16th Century in Italy. This paper intends to examine the descriptions about the Attic style in the architectural treatises in the Renaissance, especially Raphael's descriptions, and to consider the relationship between the rise of the Composite Order and the fall of the Attic style.

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One of the most famous architectural treatises in the Renaissance Age, "La Regola delli Cinque Ordini d'Architettura" by Vignola was first published in Roma, 1562. It has the following characters and forms. 1) It was published under the patronage of the family Farnese. 2) It was given the important privilage from the Papa Pius IV and other most strong powers. 3) Vignola's intetion of this publicastion was to show the system of proportions of Orders, in according to research the antic Roman Architecture. 4) His audience was not much cultivated men, but anyone who had an ordinary taste to art. 5) He use beantiful minimum number of plates by engraving. 6) This book has the orderly composition. 7) He use the unit "Modulo", from the total part to the details. 8) The short captions and glosserly was added to the plates. 9) His system of proportion was gaimed by symplifying the precedent systems and the examples of Roman Architecture. 10) Above all, the height of orders was symplifyed.

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Messene, an ancient city in Peloponnesos, Greece, was founded by Epaminondas, the Theban hero, in 369 BC. The Sanctuary of Asklepios (or the Asklepieion) was the main sanctuary of the town and located in the center beside the Agora. The sanctuary was excavated by A. K. Orlandos during the years from 1950s to 1970s. However, he passed away after that, leaving the research uncompleted. The authors reinvestigated the remaining peristylar stoas of the sanctuary, and tried to reconstruct the Corinthian order of the outer and inner colonnades together with the roof structure. The investigation of the traces of the wooden structure revealed us that the roof was built sloped all the way toward the court being supported by sloped beams. However, the outer halves of the interior of the stoas had ceilings which sloped toward the back walls, forming the interior as if the roofs were built sloped toward both sides.

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Hobert in Tasmania is an English penal settlement from 1804. This research analyzes the design process of Hobert Government House by James Blackburn, who was sent to Hobert in 1833 as a convict and played a vital role in Tasmania as an architect after self-education. It became clear that the order of his four proposed design should be rearranged. In design process, composition of plans and elevations of his studies were refined from symmetry to asymmetry and styles were begun with Classicism, changed to Gothic and Italianate, returned to Classicism again, and finally ended with Gothic.

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The Hellenistic sanctuary of the Asklepios at Messene has a square courtyard surrounded by the Stoas from its four sides. It has been considered by that the Asklepieion was built between the end of the 3^rd century and the 2^nd century B.C. Nevertheless, the recent studies of the buildings of the Asklepieion assigned that the construction of the sanctuary is dated as the first half of the 2^nd century B.C. The stylistic analysis of the architectural ornamentation demonstrates that the Stoas are dated to the first half of the 2^nd century B.C., which agrees with the recent dating of the other buildings of the Asklepieion and archaeological findings. It is also confirmed that the ornamentations of the Stoas belong to the traditional architecture from the early Hellenistic period back to the middle of the 4^th century to the 3^rd century B.C. The Corinthian Stoa was influenced by the trend of the founder, who is believed to be a king of Macedonia.

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The scaenae frons of the Roman Theater at Messene, which was built in the Flavian dynasty, was not a two storied but a three storied building in the Lotus-acanthus and Corinthian style on the 1st story, and the Lotus-acanthus on the 2nd and the 3rd stories. The Ionic capital probably did not belong to the scene building but to the porticus on the upper cavea. According to the new reconstruction, the height ratio of the 1st story to the 2nd story is ca. 3:2, which is approximately same to the ratio of Vitruvian design.

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Messene was an ancient Greek city which was built by Epaminondas in 369 B.C. The authors surveyed a Hellenistic tomb called Grave Monument III on its Stadion area in 1998 and 1999. This monument had a unique roof in concave conical form and unusually located on main street in the city wall. This field research gave numerical and visual information for the studies of reconstruction and architectural technique. In this paper, the authors describe its architectural remains as were excavated, and show briefly the results of the study.

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