Plate 80. Composite Order by Palladio

The Italian masters of the sixteenth century, besides reviving the interest for ancient art, also lent their ingenuity to the making of rules for the orders of architecture, and they may particularly receive glory from the fact that to those orders described by Vitruvius they have added a fourth, namely, the so-called Composite or Roman. The excellent examples just considered contain much material and many suggestions for the composite order which Vignola has worked up in the best spirit. This success afterwards led numerous architects of other nations to attempt to originate other orders as the French, the German, etc., which, however, in all cases, led to peculiar combinations. Traditions were swept aside, and with ruthless fantasy was brought forth a mass of composite capitals, twisted and coupled columns, broken pediments with cartouches, swags, festoons and flourishes without reason, which were particularly admired in France. Since Stuart's most valuable work on the monuments of the Greeks became known, however, a deeper insight into the spirit of ancient art was obtained, and it is hoped will prove lasting.

Palladio seems to have composed his entablature after that of the so-called Portico of the Temple of Jupiter Olympius at Athens, or after that of the Frontispiece of Nero at Rome. The swelling frieze, which projects about four parts at the top, is not to be recommended for purity, even though it can easily be seen that he has only used this as an expedient to obtain the necessary equal spacing for the end modillion, one being placed on the axis of the column.