true entablature and the roof were where they ought to be. But not only is the attic wall, substituted for an entablature, in retreat of the pilasters, but the roof rises from behind the attic, so that this last becomes a parapet.
Fig. 129.—Gable of Kirby Hall.
At the centre of this façade of one story is a porch of two stories with a tall attic and a gable of ogee outline flanked by finials. This porch has an order of fluted Ionic pilasters in the ground story, an order of Corinthian columns above, and a small order of Corinthian columns in the attic. The pilasters and columns of the first and second stories respectively, are in pairs on each side of an opening, and the entablature in each of these stories has a ressaut over each pair. The pilasters of the ground story are raised on a panelled podium, while the columns of the upper story, and of the attic, are carried on consoles. The attic has no openings, and the columns of the small order here are equally spaced, with narrow intercolumniations, and an entablature block over each column in place of a continuous entablature. The ground story opening has a plain, round arch, while that of the upper story, which is arched also, is framed with a stilted order, and crowned with a broken pediment of curved outline. The scheme is a variation of Lescot's Louvre pavilions, and thus appears to show further that its designer had either studied in France, or had borrowed ideas from the plates of Du Cerceau's book.
The southwest angle, with its curved bays, in two stories and attic, is more English in character. No neo-classic elements occur here, except the entablature bands which crown the stories. The gables (Fig. 129) of fantastic outline with strap-work scrolls, are, I suppose, of Flemish, or Dutch, origin; but they became common features of the more showy Elizabethan architecture.
