§ 20. Rusticated masonry and the Tuscan Order.
The work called Rustic[[108]] is more stunted, and more massive than that of any other Order, it being the beginning and foundation of all. The profiles of the mouldings are simpler and in consequence more beautiful, as are the capitals and bases as well as every other member. The Rustic socles or pedestals, as we call them, on which rest the columns, are square in proportion, with a solid moulding at the foot and another above which binds it like a cornice. The height of the column measures six heads,[[109]] in imitation of people who are dwarfed and adapted to sustain weights. Of this Order there are to be seen in Tuscany many colonnades both plain and rusticated, with and also without bosses and niches between the columns: and many porticoes which the ancients were accustomed to construct in their villas; and in the country one still sees many tombs of the kind as at Tivoli and at Pozzuolo. This Order served the ancients for doors, windows, bridges, aqueducts, treasuries, castles, towers, and strongholds for storing ammunition and artillery; also for harbours, prisons and fortresses; in these the stones project in an effective manner in points like a diamond, or with many facets. The projections are treated in various ways, either in bosses, flattened, so as not to act as a ladder on the walls—for it would be easy to climb up if the bosses jutted out too much—or in other ways, as one sees in many places, and above all in Florence, in the principal façade of the chief citadel, built by Alexander, first duke of Florence.[[110]] This façade, out of respect to the Medici emblems, is made with ornaments of diamond points and flattened pellets, but both in low relief. The wall composed of pellets and diamonds side by side is very rich and varied and most beautiful to look at. There is abundance of this work at the villas of the Florentines, the gates and entrances, and at the houses and palaces where they pass the summer, which not only beautify and adorn that neighbourhood, but are also of the greatest use and convenience to the citizens. But much more is the city itself enriched with magnificent buildings, decorated with rusticated masonry, as for example the Casa Medici, the façade of the Pitti Palace, the palace of the Strozzi family and innumerable others. When well designed, the more solid and simple the building, the more skill and beauty do we perceive in it, and this kind of work is necessarily more lasting and durable than all others, seeing that the pieces of stone are bigger and the assemblage much better, all the building being in bond, one stone with another. Moreover, because the members are smooth and massive, the chances of fortune and of weather cannot injure them so severely as the stones that are carved and undercut, or, as we say here, ‘suspended in the air’ by the cleverness of the sculptors.
Fig. 3.—Fortezza da Basso at Florence.
§ 21. The Doric Order.
Fig. 4.—Rusticated masonry on the exterior of the Fortezza da Basso at Florence.
The Doric Order was the most massive known to the Greeks, more robust both as to strength and mass, and much less open than their other Orders. And not only the Greeks but the Romans also dedicated this sort of building to those who were warriors, such as generals of armies, consuls, praetors—and much more often to their gods, as Jove, Mars, Hercules and others. According to the rank and character of these the buildings were carefully distinguished—made plain or carved, simple or rich—so that all could recognize the grade and the position of the different dignitaries to whom they were dedicated,[[111]] or of him who ordered them to be built. Consequently one sees that the ancients applied much art in the composition of their buildings, that the profiles of the Doric mouldings are very graceful, and the features harmonious and of a high degree of beauty; and also that the proportion of the shafts of the columns is very well understood, as they are neither too thick nor too thin. The form of the columns, as is commonly said, resembles that of Hercules; it shows a certain solidity capable of sustaining the weight of the architraves, friezes, cornices and the rest of the upper parts of the building. Because this Order, as more secure and stable than the others, has always much pleased Duke Cosimo, he desires that the building, which he has charged me to construct for thirteen civil magistrates of his city and dominion, should be of the Doric Order. This building is to have splendid decoration in stone, and is to be placed between his own palace and the river Arno.[[112]] Therefore, in order to bring back into use the true mode of construction, which requires the architraves to lie level over the columns, and avoid the falsity of turning the arches of the arcades above the capital, I have followed in the principal façade the actual method of the ancients, as can be seen in the edifice. This fashion of building has been avoided by architects of the recent past, because stone architraves of every sort both ancient and modern are all, or the greater part of them, seen to be broken in the middle, notwithstanding that above the solid of the columns and of the architraves, frieze, and cornice, there are flat arches of brick that are not in contact with and do not load the work below. Now, after much consideration on the whole question, I have finally found an excellent way of putting into use the true mode of proceeding so as to give security to the said architraves, by which they are prevented from suffering in any part and everything remains as sound and safe as can be desired, as the result has proved. This then, is the method, that is stated here below for the benefit of the world at large and of the artificers.
Fig. 5.—Construction of the portico of the Uffizi at Florence, from Vasari’s description.