Thus was formed in the Greek Doric Order the first development of its kind, and one that proved to be the progenitor of the other suc ceeding Orders, as well as the very beginning of architecture as a fine art.
Afterwards, in parts of Macedonia and at Pompeii, the propor tions of the Doric Order are accentuated in their height; it loses the robust aspect and strength of its character; and soon, in other aspects than the slimness of the column shaft, the decadence, which has com menced, becomes more manifest.
Type Form of Greek Doric Order. Plate XXXVIII displays a type form of the Greek Doric Order, the scale of parts being shown at the lower part of the plate, and the size of the column, in width, as parts at the base. The column is cut below the capital and above the base, so as to get both entablature and base on the page at a large size. At the right of the plate, a section through the entablature is shown by a darker section line, to indicate how the surfaces project beyond each other. This section is the outline that would be obtained if the cor nice were cut through; or it may be considered as the pattern of the sides of the stones of which the Order is composed. Beside the capital of the column is the plan of the underside or soffit of the over hanging cornice, showing the ornamentation frequently used at the corner angle and the little circular guttæ which are shown in their location on the main elevation of the Order. At the left of the cap is another drawing of the outline of the capital at a larger scale.
In the example of the Greek Doric Order shown in Plate XXX VIII, the column has twenty channels or flutes, as shown in plan in Fig. 55, and rests upon a stylobate or platform generally consisting of three high steps. By referring to Fig. 88, an elevation of the Propylæa at Athens, through which entrance was obtained to the Acropolis above, the general appearance and use of this Order will be seen quite clearly. One invariable characteristic of this column, which in part indicates its more elementary form as well as its direct derivation from the rock-cut pier, is the absence of a base. The channels run directly down, and stop against or upon the platform or stylobate upon the shaft rests; and at the top they are worked out again to the horizon tal fillets or annulets of the capital. The number of these channels is always even. As has been said, the number of twenty was usually employed, although in one example—that of the Great Temple at Pæstum—have been found col umns of twenty-four flutes in the exterior order, and columns of twenty and even as few as six teen flutes in the interior. But in the best examples in Athens, the number is invariably twenty, w h i l e their section is always semi-elliptical, or, in early work, the segment of a circle.
The Greek Doric Capital.
The capital of the Doric order consists of two principal parts, a plain Abacus and a moulding of refined outline termed an Echi nus, with generally three Listels or Annulets below it. The abacus, or upper member of the cap, is a plain block, rectangular in elevation, and is the only member of this column that is square in plan. The echinus, or lower member of the capital, is in vertical section always a freehand curve. This curve approaches an ellipse or hyperbola, the lower part of which ends in a series of fillets varying from two to five in number. These fillets carry around below the echinus • moulding, and separate the capital from the channeled neck or shaft of the column. A necking is sometimes suggested by separating a certain portion of the column from the remainder of the shaft by a deeply sunk channel. This square channel or sinkage takes the place of an astragal; and the necking of the column cap is always either plain or fluted, being treated to agree with the column shaft. The total height of the Doric capital is one module, or one-half the column diameter at the base.
General Rule for Height of Shaft. The proportion of the necking to the base of the column, as shown in the order, Plate XXXVIII, is as 48 parts or minutes compared to 60; while the height of the shaft, including the capital, varies in ancient examples, but, for our present purpose, may be taken as being seven diameters of the column, as shown in Fig. 50. The column used on the Parthenon will, by refer ence to the example in Plate XXXVII, be found to be only five and one-half diameters in height, instead of the seven diameters which has just been recommended. But this apparent contradiction is explained by two facts. In the first place, the column of the Parthenon is un doubtedly the most perfect that could be devised for use as it is there employed—in very large size and under a wide, flat, spreading pedi ment with a long colonnade on each returning side of the building. But for modern purposes, where no such grandeur of scale is possible, some considerable change is advisable; as the column would not be nearly so large, it requires rather a slender and graceful than a sturdy shaft. The fact that the columns would be placed farther apart than in the example of the Parthenon, also necessitates the acceptance of a quite different principle to govern their composition, although we should adhere directly to the general Greek lines, and as for most pur poses the Order would be reproduced to-day in wood, this consideration would also tend to lighten the proportions and effect of the shaft.