92. The Corinthian architrave (Plate XVIII) is thirty parts in height and divided into three bands; the first, five and five-tenths; second, six and five-tenths; and the third, seven and five-tenths. Between the first and the second there is a bead of one; between the second and the third, a cyma of two; above the third face there is a bead of one and five-tenths; cyma-reversa, three and five-tenths; and a fillet, two and five-tenths. The total projection of the architrave from the frieze is five and five-tenths.

93. The frieze has the same height as the architrave, and is terminated against the cornice by an astragal of one and five-tenths, of which five-tenths is for the fillet and one for the bead.

94. The Corinthian cornice has a total height of forty parts and its projection is equal to its height. It is divided thus: first, a cyma of three; second, a flat band of six and five-tenths, against which is placed a row of dentils five and five-tenths deep; third, an astragal one and five-tenths; fourth, a quarter-round three and five-tenths; fifth, a flat band of seven, against which are placed modillions six and five-tenths parts deep; sixth, a cyma of one and five-tenths which is mitred around the modillions and which crowns them; seventh, a corona of seven; eighth, a cyma of one and five-tenths; ninth, a fillet of one; tenth, a cyma-recta of five, and a fillet of two and five-tenths.

The total projection of forty is divided as follows: four parts for the cyma, four for the dentils, five for the astragal, the quarter-round, and the flat band of the modillions; eighteen for the modillions up to the lower angle of the cyma; one for the cyma re versa; one for the corona; two for the upper cyma and its listel; and five for the cyma-recta.

95. The cornice of the Corinthian order is distinguished by the consoles which support the corona and which are called modillions. The modillion is composed of two volutes or spirals similar to the keystone which we have already analyzed in Fig. 16, but while in the keystone the large spiral is found at the highest part, in the console it is at the back and attached to the face of the cornice.

The lower side of the modillion is covered by an ornamented leaf, whose head curves back against the smaller volute. The general proportions and curves of this leaf are indicated in Plate XVIII. In practice, the console is drawn free-hand after laying out the general proportions.

The Corinthian Order Continued 0700247

PLATE XVII. (A reproduction at small size of Portfolio Plate XVIL)

The Corinthian Order Continued 0700248

PLATE XVIII. (A reproduction at small size of Portfolio Plate XVIII.)

The modillions are nine parts in width and are spaced seventeen and five-tenths apart or twenty-six and five-tenths from center to center; the dentils are four parts wide and are two apart. Against the cyma-recta very frequently is placed a row of masks in the form of lions' heads to serve as water spouts. These masks occur over the center of the modillions.

The soffit of the corona is ornamented between the modillions, with panels containing rosettes. (Fig. 14.)

The Corinthian Order Continued 0700249

Fig. 14.

96, The base of the Corinthian Order (Plate XIX) is composed of a plinth, two torus mouldings, and two scotias separated by a double bead. Its total height is twenty-three, of which seven and five-tenths is for the plinth; five and five-tenths for the first torus; one for the fillet; one and five-tenths for the first scotia; two for the beads and their annulets; one and five-tenths for the second scotia; five-tenths for its listel; and three and five-tenths for the second torus.

The total projection of the base is eight; in this is included the conge of the column whose projection is one and five-tenths.

97. The cap of the pedestal is twenty parts in height divided among an astragal of two, a small frieze of five and five-tenths, second astragal of two, a cyma-recta of two and five-tenths, corona of five, a cyma-reversa of one and seven-tenths, and a fillet of one and three-tenths. The total projection of the cap from the die of the pedestal is eight.

The base of the pedestal is forty parts in height; it is composed of a first plinth of twenty-four, a second plinth of six, a torus of three and five-tenths, a reversed cyma-recta of three and five tenths, with a fillet of one, a bead one and five-tenths, with a fillet of five-tenths. The total projection is seven and five-tenths. of which one is for the first plinth.

The Corinthian Order Continued 0700250

Fig. 15.

98. The impost is twenty parts in height and is composed of an astragal of two; frieze, five and five-tenths; fillet, five-tenths; bead, one; quarter-round, two and five-tenths; corona, five; cyma-ivversa, two; and listel, one and five-tenths.

The total projection of the impost is seven, but for the arches between which a column with a pedestal is used, there is a greater projection of the corona of the impost. In this case the impost projection is eight.



Shepley, Rutan & Coolidge, Architects, Chicago, 111. Walls of Raindrop Brick; Wood Porch with Ionic Columns. For Plans, See Opposite Page.

The Corinthian Order Continued 0700252The Corinthian Order Continued 0700253FIRST, SECOND, AND BASEMENT FLOOR PLANS OF DOUBLE HOUSE FOR J. J. GLESSNER, ESQ., CHICAGO, ILL.


Shepley, Rutan & Coolidge, Architects, Chicago, 111. Above Plans are of One House Only, the Other House being Similar. For Exterior, See Opposite Page.

The Corinthian Order Continued 0700255

PLATE XIX. (A reproduction at small size of Portfolio Plate XIX.)

99. The archivolt is composed of three fascias, a bead and quarter-round with a fillet, and a cyma-reversa with fillet. Its width is twenty-two parts; the first fascia four; bead one; second fascia five; fillet five-tenths; quarter-round one and five-tenths; third fascia six and five-tenths; cyma two; and fillet one and five-tenths. The total projection is four.

The Corinthian Order Continued 0700256

Fig. 16.

100. The channels of the Corinthian column are twenty-four in number. The width of the fillet which separates them is one-third of the channel width. The width of a pier of the arcade is equal to the width of a column plus two archivolts which is eighty-four parts.

101. The Corinthian pilaster and column relation is shown in Fig. 15: the pilaster width at the base is thirty-nine; at the height of the capital it is thirty-seven. The width of the pilaster differs from the diameter of the column, being one part less at the base and one more at the height of the capital. The base of the pilaster projects eight and five-tenths so that the total width may be equal to that at the base of the column. The width of the abacus of the pilaster capital is equal to that of the capital of the column.

The Corinthian Order Continued 0700257

Fig. 17.

102. When the pilaster is channeled, there is formed at each angle a bead of one part and the remaining width is divided into twenty-nine equal spaces which in turn are divided into seven channels of three spaces, and eight fillets of one space each. The summits and the bases of the channels correspond to the starting point of the conges.

This rule for fluting of columns and pilasters is also applicable to the Ionic Order.

103. The drawing of the keystone console of the Corinthian arch as shown in Fig. 16 is a little different from that of the Ionic Order, but is drawn in accordance with the same rules.

The Composite Order

104. The Composite capital (Fig. 17) is a mixture of elements of the Ionic and Corinthian capitals. Its forms and general proportions are like those of the Corinthian Order. There are two banks of leaves placed as in the Corinthian, but the upper part is in the form of an Ionic capital whose volutes are placed on the angles.

The Composite Order 0700258

PLATE XX. A reproduction at. small size Portfolio Plate XX.)

105. The general proportions of the Composite entablature are the same as those of the Corinthian, but their details are appreciably different in the cornice, where the modillions are replaced by a sort of double intitule having two fascias.

106. We have now arrived at the close of the analysis of all the details which enter into the composition of the three Orders of Classical Architecture, and it will be advisable to take up briefly the consideration of their use in relation to each other, especially in regard to the principles governing their intercolumniation and superposition.