§ 21 The Doric Order
The Doric Order was the most massive known to the Greeks, more robust both as to strength and mass, and much less open than their other Orders. And not only the Greeks but the Romans also dedicated this sort of building to those who were warriors, such as generals of armies, consuls, praetors—and much more often to their gods, as Jove, Mars, Hercules and others. According to the rank and character of these the buildings were carefully distinguished—made plain or carved, simple or rich—so that all could recognize the grade and the position of the different dignitaries to whom they were dedicated,111 or of him who ordered them to be built. Consequently one sees that the ancients applied much art in the composition of their buildings, that the profiles of the Doric mouldings are very graceful, and the features harmonious and of a high degree of beauty; and also that the proportion of the shafts of the columns is very well understood, as they are neither too thick nor too thin. The form of the columns, as is commonly said, resembles that of Hercules; it shows a certain solidity capable of sustaining the weight of the architraves, friezes, cornices and the rest of the upper parts of the building. Because this Order, as more secure and stable than the others, has always much pleased Duke Cosimo, he desires that the building, which he has charged me to construct for thirteen civil magistrates of his city and dominion, should be of the Doric Order. This building is to have splendid decoration in stone, and is to be placed between his own palace and the river Arno.112 Therefore, in order to bring back into use the true mode of construction, which requires the architraves to lie level over the columns, and avoid the falsity of turning the arches of the arcades above the capital, I have followed in the principal façade the actual method of the ancients, as can be seen in the edifice. This fashion of building has been avoided by architects of the recent past, because stone architraves of every sort both ancient and modern are all, or the greater part of them, seen to be broken in the middle, notwithstanding that above the solid of the columns and of the architraves, frieze, and cornice, there are flat arches of brick that are not in contact with and do not load the work below. Now, after much consideration on the whole question, I have finally found an excellent way of putting into use the true mode of proceeding so as to give security to the said architraves, by which they are prevented from suffering in any part and everything remains as sound and safe as can be desired, as the result has proved. This then, is the method, that is stated here below for the benefit of the world at large and of the artificers.