Rudimentary Architecture for the Use of Beginners / The Orders and Their Æsthetic Principles

by W. H. Leeds

MODERN DORIC.

Of the Roman and the modern varieties of this Order we shall treat much more briefly, because our remarks may be confined to comparison and the notice of differences. Certain it is that the original character of the Order was gradually lost sight of more and more, till at length it was converted into something quite different from its Greek type. The few circumstances in which Modern Doric, as we may call it, resembles the original one, are little more than the mode of fluting with arrises instead of fillets,—the general form of capital composed of echinus and abacus, and the triglyphs upon the frieze. The differences are, if not greater, far more numerous. The column becomes greatly elongated, being increased from six to eight diameters. The sunk annulets beneath the capital were omitted or converted into fillets; the capital was increased in depth by a distinct necking being given to it, divided from the shaft by a projecting moulding, which in that situation is called an astragal. The abacus, too, is made shallower, and has mouldings added to it. One of the greatest changes of all, as far as the column is concerned, is the addition of a base to it, which is partly both consequence and cause of the greater slenderness of the shaft; for were the shaft not reduced in diameter,—which is the same as being made more diameters in height,—the base added to it would enlarge the foot of the column: so again, on the other hand, were only the shaft decreased in thickness, without any mouldings for a base being added to it, that end of the column would be as much too small. The base best adapted to the Order, as being the most simple, though not uniformly made use of, is that which consists of merely a torus, or large circular and convex-sided block, and two shallow fillets above it. It may here further be noticed, that besides the base itself, or the base proper, the moderns have, for all the Orders alike, adopted an additional member, namely, a rather deep and square block, which, when so applied, is termed a plinth; and beneath this is frequently placed another and deeper one, called a sub-plinth. Contrary as this is to the practice of the Greeks, it is by no means an unwarrantable license, for had no greater liberty been taken with the Orders and the modes of applying them, they would have remained comparatively quite pure. In apology for the plinth beneath a base, it may be said to produce a pleasing agreement between both extremities of the column,—in the Doric Order at least, where the square plinth beneath the circular torus of the base answers to the square abacus (which is itself another plinth, though differently named) placed upon the circular echinus of the capital.

Passing over several particulars which our confined limits will not permit us to notice, we may remark, that if greatly altered, not to say corrupted, from its primitive character, the Doric Order, as treated by the moderns, has been assimilated to the other Orders,—so much so as, though still differing from them in its details, to belong to the same general style. One advantage, if no other, of which is, that it may, should occasion require, be used along with the other Orders; whereas the original or Grecian Doric is so obstinately inflexible that it cannot be made to combine with any thing else, or to bend to modern purposes. So long as a mere portico or colonnade, and nothing more, is required, backed by a wall unperforated by windows, its character and characteristic system of intercolumniation can be kept up, but no longer; or if it is to be done, it is more than has yet been accomplished. Nothing could be more preposterous, or show greater want of proper æsthetic feeling, or greater disregard of æsthetic principles, than the attempt to combine, as was done by Nash in the Park façade of Buckingham Palace, a Grecian Doric Order with a Corinthian one. So totally irreconcileable are the two styles, that it was like placing Tudor or florid Perpendicular Gothic upon the early Lancet style. Besides, in that instance, the Doric, though affecting to be Greek, was depravated most offensively, as may still be seen in what is now left in the two low wings, the architrave and frieze being thrown together into one blank surface.