ARCHITECTURE. 99 
4 minutes. Other architects divide the module into 24, even into 30 
parts; Wiebeking, for instance, into 50 minutes. We, however, follow the 
division of Vignola. If then we know that a Tuscan order to be employed 
is 21 feet, 9 inches, in height, the module will be —1 foot, and the lower 
diameter of the column be = 2 feet. If the order is 43 feet, 6 inches high, 
then the module will be — 2 feet, and the lower diameter — 4 feet, from 
which the module measure may be derived for all details. The Doric 
column is 16 modules, and the whole order (pl. 20, jig. 2) 25 modules, 4 
parts in height. The Ionic order (jg. 3) is 28 modules, 6 parts, the column 
alone 18 modules. The Corinthian order (jig. 4) as well as the Roman or 
Composite (jig. 5) is 32 modules, the columns alone 20 modules in height. 
1. Tue Tuscan Orprr. The Tuscan order is that which the Etruscans 
employed in their buildings, and although, as we have already remarked, 
there were many buildings of this style in Rome, yet no traces of them have 
come down to us. Vignola was thus obliged to create his Tuscan order, 
although he cleaves to the slightest trace of it in the works of Vitruvius. 
Pil. 21, fig. 1, represents the Tuscan column arrangement, and we see from 
the accompanying numbers that the shaft of the column has 12 modules, 
base and capital 1 module, and the entablature one fourth of the whole height, 
consequently 44 modules. This relative height of the entablature Vignola 
adopts in all his orders. PU. 20, fig. 6, shows the column arrangement with 
arches, according to which the breadth of the arches between the imposts is 
53 modules, and the height of the keystone of the arch is 1 module, whereby 
the point of commencement of the impost cornice, a (fig. 7), and the archi- 
volt 6, are readily determined. PJ. 23, jig. 1, gives the Tuscan arrange- 
ment of arches with pedestals to the columns, where the distance from centre 
to centre of the columns is 12% modules, but the span of the arch 82 
modules. ‘Thereby, the breadth of the imposts is given ; so is their height, 
since the archivolt of the arch —1 module. PJ. 22, jig. 1, shows the 
detailed construction of the Tuscan capital and entablature, where the 
architrave, a, is — 1 module; the frieze,b,—1 module, 2 parts; and the 
cornice, ¢, — 1 module, 2 parts high. pb, is the under view of the cornice; 
B, the capital of the column co, 1 module high, of which & is the under view. 
These details determine the reduction of the column as being from 2 
modules to 1 module, 7 parts. The numbers in the figure show the various 
heights and projections. PJ. 20, jig. 7, shows, in A, the upper view of the 
half column, and of the pedestal; in 3B, the impost with its cornice, a, 
and the archivolt, 6. At a is the view of the pedestal and of the base, 
with their heights and projections accurately represented. The Tus- 
can order has the character of simplicity. It has been employed, among 
other architects, by Le Brosse, in the Palais Luxemburg, by Le Mercier upon 
the Palais Royal in Paris, and by Mansard in the Orangery at Versailles. 
2. THe Doric Orper. Vignola composed two Doric orders, one with 
dentals, the other with modillions, which harmonize with each other in 
the important points, and differ much in detail. For the first style Vignola 
seems to have taken the Doric order of the theatre of Marcellus in Rome as 
his type; whilst the other was founded upon the remains discovered at 
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