
t 
100 ARCHITECTURE. 
Albano. The Doric order has its difficulties, on account of the placing of — 
the triglyphs in the frieze, for which reason it is not adapted to all columnar 
distances, as in many the relation of the metopes to the triglyphs would be 
untrue. The placing of the columns and the entablature respectively, are 
shown in pl. 21, jig. 3, where it appears that in this case, the columns 
from centre to centre must have distances of 74 modules if the metopes and 
triglyphs are to be true. In the arrangement of columns with arches (pl. 
28, jig. 2), the distance must be 10 modules, so that, as 1 triglyph and 
1 metope require a space of 23 modules, 2 triglyphs and 2 metopes may. 
find place; and in the same way in the arrangement of columns upon 
pedestals, and with arches, the distance must be 15 modules to accom- 
modate 2 more triglyphs, and 2 more metopes. l. 21, jig. 2, gives the 
details of the entablature, capital, and of the upper part of the shaft of the 
column of the dental style, in which the reduction of the column to 1 module, 
8 parts, may be seen; and the remaining measures to the complete draw- 
ing of this order may be partly read, and partly calculated from the 
adjoining scale. a is the under view of the half column and of the half 
capital, whence it may be seen that the abacus is square and the echinus 
round. In B is presented the under view of the entablature, with the 
ornament of the under view of the corona. Pl. 22, jig. 3, on the 
other hand, represents the entablature, and the upper part of the 
column of the Doric order of the modillion style. Here, instead of the 
dental, the arrangement of the modillion style is evident, and more plainly 
in the under view a. The measurements are here also sufficiently indicated, 
so that we need not enlarge upon them. /%g. 2 represents the Doric 
basis and the Doric pedestal in the front view, and below, the half upper 
view of the same. In a, there is a part of the impost, with its 
cornice, and the archivolt, one module broad, which, reckoning from 
without inwards, consists of a supercilium, a torus, a socle, and two 
stripes. The Doric order of the dental style is especially adapted for 
external decoration, on account of the strength of the profile, and of the 
broad projection of the corona, through which the rain water is carried clear 
of the building; and on the other hand the modillion style is peculiarly 
adapted to vestibules, galleries, halls, &. PU. 19, fig. 4, shows the capital 
of the order of Albano, and jig. 5, that of the Baths of Diocletian at Rome, 
which Scamozzi has taken as the model of his Doric order. Many builders 
have employed the Doric order without the triglyphs, because in many cases 
it is almost impossible to obtain a proper distribution of them. So, for 
example, Bramante in the palace of the Cancelleria in Rome, Raphael in the 
Chigi Palace, and Bernini in the great colonnade before St. Peter’s in Rome, 
have omitted the triglyphs; and, it would indeed have been very difficult 
for Bernini to have made a correct disposition of them, since the columns on 
the exterior have wider distances than those of the interior, on account of the 
circular form of the colonnade. The arrangement of Michael Angelo on 
the Farnesian Palace, that of Scamozzi on the new Procurate in Venice, 
and that of Palladio on the basilica in Vicenza, are very regular. 
In pl. 20, fig. 8, we have given an example of the Greek Doric order, 
100 
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