ARCHITECTURE. 103 
the point of the abacus, which must touch the extreme points of projection 
of all these parts. The single parts of the capital are as follows: a, cyma 
of the abacus, the truncated corners are termed the horns of the abacus ; 8, 
slab of the abacus ; c, volute; d, pedicle with small leaves ; ¢, large leaves ; 
J, small leaves resting on the astragal. 
The Corinthian capital admits of multifarious decorations, and we meet with 
ornaments of olive leaves, laurel leaves, parsley, acanthus, palm-leaves, and 
even of ostrich feathers. Various kinds of Corinthian capitals are shown on 
pl. 19: fig. 9, from the Tower of the Winds; jg. 10, from the monument of 
Lysicrates in Athens ; jig. 11, from the Palace of the Cesars, or the Temple of 
Peace; jig. 12, from that of Jupiter Stator; and jg. 13, from the portico 
of the Pantheon in Rome. The base also is richly ornamented. Some- 
times the flutings do not extend to the foot of the shaft, but the latter is sur- 
rounded below by a rich ornament. PJ. 19 shows examples of this. 
Fig. 22 is the foot of a column from the Baths in Nismes, and jig. 23, the 
richly decorated foot of a column from the Basilica St. Praxeas in Rome, 
executed, however, in a style which we will not advocate, as it borders on 
the meretricious and does not harmonize with the slenderness of the shaft. 
5. Tae Composire Orper. It was long a question whether the Composite , 
order should be regarded as a peculiar one, distinctly different from the 
Corinthian, or whether, as was the case with the Ionic and Corinthian orders 
of the Greeks, both had the same entablature, and were only distinguished 
from each other by the capitals. Palladio and Scamozzi, however, classed 
those monuments which had that peculiar capital differing so essentially 
from the various Corinthian capitals, and which had originated in a com- 
bination of the Ionic and Corinthian orders, as a peculiar order, which 
they called the “‘ Roman,” and which later received the much more expres- 
sive title “‘ Composite,” or combined order, and these architects invented 
also an entablature peculiar to it. Vignola has, beyond dispute, succeeded 
best in seizing the real character of the Composite order, and in giving it a 
regularity or peculiarity more prominent than that which his predeces- 
sors had allotted to it. The chief dimensions, that is, the heights of the 
columns and capitals, the height of the entablature in its chief parts, the 
intercolumniations, and the arcades, agree entirely with the Corinthian order. 
On the other hand the proportions and arrangements of the single members 
and their decoration in many places are very different, as an attentive 
consideration of the drawings will show. Pl. 21, fig. 9, shows the simple 
arrangement of the columns in this order; pl. 23, jig. 8, the columnar 
arrangement of the same with arches; and jig. 9, the columnar arrangement 
upon pedestals and with arches. Pl. 22, fig. 8, gives the view of the 
pedestals and of the lower part of the shaft of this order, with a half 
upper view of the same parts, and at A, the impost cornice and the 
archivolt of the arch, which, considered from without inwards, consists of 
a supercilium, cyma, cavetto, socle, stripe, bell-moulding, and a fillet. 
Pl. 22, fig. 9, shows the capital and the upper part of the shaft with indi- 
cations of the reduction and the entablature, of whose cornice the under 
view is given in A. It will be seen from the drawing that the Composite 
103 
