Orders of Architecture
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Eighty black-and-white plates by Augustus Pugin and other distinguished artists depict details of works by such architects as Vitruvius, Palladio, Vignola, Serlio, and Lescot. Featured Greek buildings include the Parthenon, the temples of Apollo and Jupiter, the Portico of Augustus, the Aqueduct of Hadrian, and others. More than twenty Roman structures include the Pantheon, the Colosseum and buildings in the adjacent forum, and the temples of Paestum.
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Orders of Architecture - R. A. Cordingley
ORDERS
OF
ARCHITECTURE
R. A. CORDINGLEY
DOVER PUBLICATIONS, INC.
Mineola, New York
Bibliographical Note
This Dover edition, first published in 2015, is an unabridged republication of Normand’s Parallel of the Orders of Architecture, originally published by Quadrangle Books, Inc., Chicago, in 1951, and reprinted from the first English edition of the work, originally published by A. Pugin, London, in 1829.
Library of Congress Cataloging-in-Publication Data
Normand, Charles Pierre Joseph, 1765-1840.
[Nouveau parallel des ordres d’architecture des Grecs, des Romains et des auteurs modernes. English] Orders of architecture / R. A. Cordingley.
pages cm
This Dover edition, first published in 2015, is an unabridged republication of Normand’s Parallel of the Orders of Architecture, originally published by Quadrangle Books, Inc., Chicago, in 1951, and reprinted from the first English edition of the work, originally published by A. Pugin, London, in 1829.
eISBN-13: 978-0-486-80346-3
1. Architecture—Orders. I. Cordingley, R. A. (Reginald Annandale), 1896–1962, editor. II. Title.
NA2812.N7 2015
721’.36––dc23
2014036055
Manufactured in the United States by Courier Corporation 79574801 2015
www.doverpublications.com
CONTENTS
Index
Introduction
General Notes on the Plates
Descriptive Notes on the Plates
Plates
INDEX
Index to Buildings
ALBANO, ROME, Building at 13
ANTONINUS, ROME, Basilica of 50
ANTONINUS AND FAUSTINA, ROME, Temple of 8, 47, 71
APOLLO, CORINTH, Temple of 9
APOLLO, DELOS, Temple of 9
APOLLO DIDYMA, MILETUS, Temple of 27
APOLLO EPICURIUS, BASSAE, Temple of 6, 6, 24, 25
ARTEMIS (DIANA), EPHESUS, Temple of 4
AUGUSTUS, ATHENS, Portico of 10
CANCELLERIA PALACE, ROME 69
CASTOR AND POLLUX, ROME, Temple of 8, 42
COLOSSEUM, ROME 64
CONSTANTINE, ROME, Arch of 49, 64
DIOCLETIAN, ROME, Thermae of 14, 30, 57
ERECHTHEUM, ATHENS 4, 22, 23, 24, 61, 66, 67
FARNESE PALACE, ROME 68
FERRARA CASTLE 69
FORTUNA VIRILIS, ROME, Temple of 28
HADRIAN, ATHENS, Aqueduct of 27
ILISSUS, ATHENS, Temple on the 4, 20, 21
INCANTADA, SALONICA 40
JUPITER OLYMPIUS, ATHENS, Temple of 6, 39
LYSICRATES, ATHENS, Monument of 6, 37
MARCELLUS, ROME, Theatre of 7, 12, 29
MARS ULTOR, ROME, Temple of 50, 71
MINERVA POLIAS, PRIENE, Temple of 4, 26, 27
NERVA, ROME, Forum of 46, 71
NIKE APTEROS, ATHENS, Temple of 70
PAESTUM, Temples at 3, 8, 10
PANTHEON, ROME 44, 45, 63, 65, 67, 71
PARTHENON, ATHENS 3, 4, 5, 5, 70
PEACE, ROME, Temple of 63
PHILLIP OF MACEDON, DELOS, Portico of 9
POSEIDON, Temple of (see Paestum)
PROPYLAEA, ATHENS 5, 10
SEPTIMUS SEVERUS, ROME, Arch of 56, 64
SERAPIS, ROME, Temple of 48
S. LORENZO, ROME, Church of 68
THESEUM, ATHENS 7
THESEUS, ATHENS, Arch of 40
THRASYLLUS, ATHENS, Monument of 11
TITUS, ROME, Arch of 8, 55
VESPASIAN, ROME, Temple of 43, 71
VESTA, TIVOLI, Temple of 8, 41, 67
WINDS, ATHENS, Tower of the 38
Index to Architects, etc.
ALBERTI 9, 34, 54
AVILER, d’ 36
CALLICRATES 6
CALLIMACHUS 6
GIBBS, James 10, 13
GOLDMANN 36
GOUJON, Jean 9, 62
HERMOGENES 8
ICTINUS 6, 8
LESCOT 9
LORME, Philibert de 9, 19
PALLADIO 9, 14, 1, 5, 31, 35, 51, 52, 58
SCAMOZZI 9, 14, 2, 16, 19, 32, 34, 52, 54, 59
SERLIO 9, 12, 3, 34, 54, 65
VIALA 19, 68
VIGNOLA 9, 12, 13, 14, 4, 17, 18, 33, 35, 53, 60, 68
VITRUVIUS 7, 8, 9, 12, 14, 65
WARE (W.R.) 10
ZANNINI 19
INTRODUCTION
NORMAND’S Parallel of the Orders of Architecture is unusual in this class of publication in that it includes not only a fully representative selection of those standardised versions of the respective orders evolved by certain celebrated modern
masters of Italian or French Renaissance architecture, but also a fine series of measured drawings derived from the actual monuments of Greek or Roman antiquity still surviving. As the Orders
composed by the Renaissance writers were based on these very structures, we are consequently afforded a means of critical comparison as well as a wide opportunity for discrimination in the selection of proportions and details appealing to our individual taste. But we may only do justice to this excellent collection of drawings by an appreciation of the circumstances which attended the growth of the orders and a realisation of their underlying significance.
THE GREEK ORDERS
The story of the Orders begins in classical Greece. There, about the eighth century B.C., we find a post and lintol
architecture, already artistically refined beyond essential structural needs, in process of translation from wood to stone. Though none of the ancient timber work has survived, almost every stone feature is recognisably derived from a wooden counterpart. It is an architecture of colonnades, in which regularly spaced