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‹Better GutenbergVasari on Technique§ 23 — The Proportions and Parts of the Doric Order · 26 of 147Contents›

Vasari on Technique

by Giorgio Vasari

26 of 147 · Contents · Download EPUB

§ 23 The Proportions and Parts of the Doric Order

To return to the Doric Order, I may state that the column is made seven heads in height. Its pedestal must be a little less than a square and a half in height and a square in width,121 then above are placed its mouldings and beneath its base with torus and two fillets, as Vitruvius directs. The base and capital are of equal height, reckoning the capital from the astragal upwards. The cornice with the frieze and architrave attached projects over every column, with those grooved features, usually called triglyphs, which have square spaces122 interposed between the projections, within which are the skulls of oxen, or trophies, or masks, or shields, or other fancies. The architrave, jutting out, binds these projections with a fillet, and under the fillet are little strips square in section, at the foot of each of which are six drops, called by the ancients ‘guttae’ (goccie). If the column in the Doric order is to be seen fluted, there must be twenty hollow facets instead of flutes,123 and nothing between the flutes but the sharp arris. Of this sort of work there is an example in Rome at the Forum Boarium which is most rich;124 and of another sort are the mouldings and other members in the theatre of Marcellus, where to-day is the Piazza Montanara, in which work there are no bases (to the Doric columns) and those bases which are visible are Corinthian. It is thought that the ancients did not make bases, but instead placed there a pedestal of the same size as the base would have been. This is to be met with in Rome by the prison of the Tullianum where also are capitals richer in members than others which appear in the Doric Order.125 Of this same order Antonio da San Gallo has made the inner court of the Casa Farnese in the Campo di Fiore at Rome, which is highly decorated and beautiful; thus one sees continually ancient and modern temples and palaces in this style, which for stability and assemblage of the stones have held together better and lasted longer than all other edifices.

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