Plate 82. Composite Order by Vignola

Vignola, without doubt, has succeeded best of all in grasping the spirit of the Composite order, when we consider the entablature from the Triumphal Arch of Septimius Severus as the model, for this order was nothing more than an enriched Ionic. Although imitating the antique monuments Vignola has given his order more regularity and practicability, and has arranged the whole in such a manner that it was given preference by the other masters of that time in which the composite style enjoyed a certain popularity.

Instead of the heavy member under the cyma, found on the Arch of Severus, Vignola has, on his order, placed that which is found over the dentils, and he has given a more pleasing form to the drip in the soffit of the corona.

The members of the base, pedestal and impost, as they are nearer to the eye are skillfully arranged and are in keeping with the higher parts. In execution, the members nearer to us and belonging to the lower masses, as the pedestals, bases, and imposts, do not require such heavy parts as does the entablature, which is always at a greater height and requires a different scale.

His composite capital, however, is no improvement over his Corinthian. The leaves here also project to a line drawn from the astragal to the diagonal corner of the abacus, as also do the volutes, which necessitates the latter to be drawn back too far under the abacus, and on account of their large winding they crowd the echinus of the basket. All this gives the upper members of the capital a pressed, stiff, and heavy appearance.

Names of the Members of the Composite Order.

The Frieze: A. Frieze with Enrichment. Aa. Drip under the Corona.

The Capital: B. Volute. C. Leaves. D. Flower. E. Plan of the Volute. F. Plan of the Flower Block. G. Plan of the Leaves. H. Plan of the Flower. I. Plan of the Shaft and Flutes. K. Side view of Volute. L. Bell or Basket. M. Line to which Volutes and Leaves are projected.