The dentils are rectilinear blocks on a flat projecting band, and they are supported by a cyma reversa moulding. A fillet beneath this moulding completes the cornice. The reversa is about the same height as the fillet, and the dentil course is about twice this height, but owing to the soffit of the corona sloping slightly upward and inwards the full height of the dentil facia is not apparent when drawn in elevation.

Above the dentil facia is a small cavetto moulding and a fillet. These are directly beneath the corona, and are carried round to form the panels on its soffit.

The Doric frieze is three-quarters of a diameter high. It is divided into panels technically known as metopes, by projecting features half a diameter in width which are called triglyphs.

The metopes should be square, and one of the triglyphs is always placed immediately over each column, having the same central axis, hence the spacing of the columns apart is regulated by the triglyphs and metopes. Examples of various spacings of columns will be given later.

The frieze is bounded above and below by rectilinear projecting bands or fillets; that at the top breaks round or follows the projection of the triglyphs.

The triglyphs are so named because they are channelled vertically with grooves or glyphs, V shaped in section, with intervening spaces or inter-glyphs. The width of the triglyph should be divided into twelve parts—then the half glyphs which are placed at the angles will each be one of these parts, and the remaining two glyphs and three inter-glyphs are each two of them. The glyphs terminate at the base on the fillet band, but at the top are cut off a little below the upper fillet, invariably in a straight line, thus forming a triangular heading with the apex of the triangle sloping backwards and downwards in conformity with the V shaped section of the glyphs.

Under the lower fillet band, and immediately below the triglyph, is a small fillet and six pendant drops of conical form known as guttae.

The architrave is half a diameter high, inclusive of the fillet band, which is roughly a sixth of this height. The small fillet and guttae are together equal in height to the fillet band.

It may be taken as an invariable rule that whatever order is used, the face of the architrave must be in vertical alignment with the upper part of the shaft of the column.

Ionic Entablature

The total height of the entablature is divided into ten parts; three of these should be taken as the height of the architrave, three that of the frieze, and the remaining four that of the cornice.

To find the projection of the cornice a line should be drawn at an angle of 45 degrees from the top of the frieze, and the profiles of the mouldings composing the cornice will fall within this line.

The lowest member is a small reversa moulding, with a fillet supporting a dentil course, above which is an ovolo; these occupy half the height of the cornice. The remaining half is composed of the facia, surmounted by a reversa and the crowning cyma moulding, rather more than half of the height being allotted to these two.

The frieze of the Ionic order has no characteristic detail as the Doric, and may be plain or decorated according to conditions, and should be in vertical alignment with the lowest member of the architrave. In some of the later Renaissance examples the profile of the Ionic frieze is a segmental curve of about a third of a circle.

The architrave is usually formed of three facias, which may be either vertical or slightly inclined.

A fifth of the total height is taken for the upper moulding, which is a reversa with its accompanying fillet.

A point bisecting the underside of the fillet and bottom of architrave will give the line of the lower edge of the top facia. The other two facias should be taken in a decreasing ratio, the lower being the shorter.

Corinthian Entablature

The division of the entablature is the same as that of the Ionic. The total height is divided into ten. Three of these parts form the architrave, three the frieze and four the cornice.

An angle of 45 degrees set off from the top of the frieze will determine the general contour and projection of the cornice.

The cornice is more complex than in the other styles, but a division of eleven will help to determine, three being the height to underside of bead moulding and seven that of the main facia. The lowest moulding of the cornice is a cyma reversa supporting a dentil course with a bead moulding above it. Above the bead there is an ovolo, which forms the bed of a series of brackets known as modillions. The height of the modillions is about one-fifth including the reversa moulding, which, besides completing the modillions, is carried round between them as a support for the upper facia.

The modillions have a profile of ogee form. They are about a sixth of a diameter in width and project about twice their width, and are so spaced as to leave squares between them on the soffit or underside of the corona. The frieze, which may or may not be decorated, is in vertical alignment with the lowest member of the architrave.

The architrave is made up of three facias with intervening mouldings. If the height be divided into two, the upper half is devoted to the first facia and reversa moulding, which latter occupies rather more than one-third; the remaining half is taken up by the other two facias in a diminishing ratio.

The Column—The Shaft

The general proportions of the column have already been given. The shaft is invariably tapered for two-thirds of its height, the lower third being cylindrical, and the taper terminates at the necking moulding. In all three orders the difference between the upper and lower diameters is the same, that is, the upper is five-sixths of the lower, but although the amount of taper is numerically the same, the different ratios of the diameters to the heights produce naturally very different results.

The shaft of the Doric column may be plain or channelled with vertical grooves called flutes. There are twenty of these flutes round the circumference. On plan they are shallow, and may be formed of arcs of a third of a circle. The curves meet without intervening fillets. The flutes are finished off in segmental curves at the top and bottom, leaving a small plain space below the necking and above the base.

The Ionic and Corinthian columns may have plain or decorated shafts. If decorated they have twenty-four flutes round the circumference. These are semi-circular on plan, and are spaced with fillets between them.

The Capital

The Capital is the culminating feature of the column in which horizontal lines predominate in Æsthetic contrast to the vertical lines of the shaft. In all the orders there is some form of crowning block or moulding known as the abacus.[A]

Doric Capital

The Doric abacus consists of a rectangular slab, square on plan, which in detail consists of a fillet and reversa moulding surmounting a facia. Its extreme width is one and a half times the upper diameter. The square abacus is supported by an ovolo, which is circular on plan, and is connected with the necking by three small fillets.

The capital is half a diameter in height, exclusive of the mouldings between the necking and the shaft, and the upper part to the underside of the ovolo occupies rather more than half.

The necking is a vertical extension of the upper diameter of the column, and is separated from the shaft by a boldly projecting moulding, which in height should be about equal to the three small fillets below the ovolo. The moulding consists of a torus and a fillet, and a cavetto curve is carried from the underside of the fillet and dies into the line of the shaft of the column.

Sometimes the ovolo is decorated with its characteristic egg and tongue detail, and occasionally the reversa of the abacus is also enriched. The necking is sometimes ornamented with four rosettes, which are placed centrally under the square faces of the abacus.

Ionic Capital

The Ionic capital is half a diameter high, and is readily distinguished by its bolster-like form with voluted ends. This bolster is rectangular on plan, and measures laterally rather more than one and a half diameters, while from back to front it is slightly less than a diameter.

The shaft terminates in a cavetto curve, and is surmounted by a fillet, a small torus and an ovolo moulding, which is invariably decorated with egg and tongue detail. These mouldings all conform to the circular plan of the shaft. On the ovolo rests the voluted bolster.

The abacus, which is square on plan, consists of a reversa moulding and fillet.

From the top of the abacus to the base of the ovolo the height is about a third of a diameter, and one-fourth of this height will give the height of the abacus.

The centre or eye of the volute can readily be found by dropping a perpendicular from the lower edge of the reversa to intersect the horizontal line defining the base of the ovolo. This point of intersection is the required centre.

To Draw the Volute

From this as centre and one part as radius describe a circle. Within this circle draw a square, having for a diagonal the diameter of the circle. Bisect the sides of the square and draw the diameters by joining the points of bi-section. Divide these diameters of the square into six and these points will be the centres for the segments of circles which form the volute. Vertical and horizontal lines drawn from the centres will define the extent of each segment.

For small scale drawings the volutes are drawn free-hand, but for larger working drawings it is necessary to use some method such as that given here.

The angle formed by the meeting of the ovolo and the volute is masked by a detail of anthemion form.

The ends of the bolster between the volutes consist of concave or ogee curves, which are symmetrically arranged from a centre line; moulded ridges or conventional leaf detail decorate the centre.

The form of the Ionic capital, while suitable for a faÇade, requires some modification if it is to be carried round the side of a building, owing to the great dissimilarity in the front and side views. In this case the end volute of the capital at the angle of the building is projected forward at an angle of 45 degrees, and the side is then treated in the same way as the front.

In late Renaissance buildings this difficulty was overcome by making all the volutes project at angles of 45 degrees, so that the four faces of the capital were uniform. This entails the bolster being dispensed with, and the volutes, no longer connected laterally, spring directly from the top of the ovolo moulding, and the space between the springing lines is occupied by a husk.

As the volutes make equal angles they conform more or less to a square plan. The plan of the abacus is composed of four concave curves with small straight intervals at the meeting angles. The general proportions for this form of capital are the same as for the bolster type.

Corinthian Capital

The Corinthian capital differs widely from those of the preceding orders in proportion and detail.

Its general form may be described as a bell, which is circular on plan. It springs from the upper extremity of the shaft, from which it is separated by a necking moulding.

Under the abacus it terminates in a fillet.

The bell is one diameter high. The height of the abacus is one-sixth of a diameter in addition; on plan the abacus falls within a square, having four concave faces with short straight lines at the angles. The distance across the diagonal is two diameters. The bell is clothed with leaves of acanthus type, which are arranged in two tiers of eight leaves each. Between the upper leaves are eight stems with husks and branching scrolls, which terminate in volutes at the angles and centres.

The necking moulding consists of a small torus and fillet.

Although the arrangement of the principal features of the Corinthian capital is horizontal, yet owing to the channelling of the leaves and the firmly springing scrolls the vertical direction appears to predominate.

This verticality emphasises the function of the capital as a supporting feature, and is Æsthetically satisfactory, being in harmony with the flutings of the shaft.

The effect produced by the capitals of the other two orders is horizontal, and suggests the idea of binding. They are equally satisfactory as giving contrast of direction.

The Base

In all the orders a square plinth is the lowest member of the base of the column. On this plinth rests a series of mouldings which follow the circular plan of the shaft. The shaft invariably terminates in a fillet, the diameter of which exceeds that of the column, and on to which the line of the shaft is carried by means of a curve.

Doric Base

The Doric base is extremely simple. It consists of the square plinth on which rests a torus moulding surmounted by a smaller moulding of the same section and a fillet above.

The width of the plinth is one and a third the diameter of the column, and its height a quarter diameter or half the total height of the base. The other half is made up of the large torus, the small torus and fillet. The torus moulding should be bold in projection, practically semi-circular and at the fullest part of its curvature in vertical alignment with the centres of the horizontal faces of the plinth block. The small torus and fillet are about equal in height.

Ionic Base

The Ionic base differs from the Doric in the introduction of a hollow or scotia moulding between the two torus mouldings. Æsthetically it may be considered more satisfactory in that the strong shadow obtained by the use of the scotia produces an effect of binding which adds to the impression of strength. The type is technically known as the Attic base.

The total width is one and a third diameter.

The height of half a diameter may be divided into three. One of these divisions will give the height of the plinth, one the large torus and the fillet above it, and the other the scotia and small torus with the fillets above and below. The fillets either side of the upper torus may be in the same vertical alignment.

The smallest diameter of the base, which will be in the hollow of the scotia, should exceed the diameter of the shaft, or an effect of weakness will be imparted.

As in the Doric base a curve of a quarter circle connects the shaft with the upper fillet.

Corinthian Base

The orthodox base of the Corinthian order is similar to that of the Ionic, with an additional scotia and small torus with its accompanying fillets.

The width of the plinth is one and a third diameter.

The height of half a diameter does not include the top fillet. The proportions may be approximated by dividing the height into four. One of these parts will be the height of the plinth, another that of the large torus and its fillet, the third—the upper edge of fillet of top scotia, and the fourth that of the upper scotia and torus with the intervening fillet. Vertically the uppermost fillet is in alignment with that of the upper scotia, and the extremity of the upper torus with the small bead mouldings dividing this from the lower scotia.

Although this is the orthodox Corinthian base, it is not used as frequently as the Ionic type, but when the order is on a large scale the more elaborate version is justified.

The Arch

When the arch is used in conjunction with the column it is supported on pilasters which are attached to the columns. The columns and pilasters thus form piers.

In the Doric order the columns are placed five diameters apart from centre to centre, in the Ionic five and a quarter, and in the Corinthian five and a half.

The necking moulding of the capital is generally carried through above the arch, the outer line of which is struck so as to nearly touch the underside.

The projection of the pilasters which carry the arch is half a diameter from the outer lines of the column, and is measured on the same level as the springing point of the arch.

The centre from which the arch is struck is sometimes in the same horizontal line as the springing points, but more frequently a little above the line and thereby a rather better effect is produced.

The arch-band or archivolt is the same width as the pilaster supporting it, and a series of mouldings known as the impost is placed at the top of the pilaster. The base of the pilaster consists of a plain plinth of slight projection equal in height to the base of the column.

From the spacing of the columns and the proportions here given it will be seen that the height and width of the aperture made by the arch and pilasters are arrived at automatically, but if measured, the height will be found to be about twice the width and the top of the impost about two-thirds the height of the column. These proportions may be accepted as giving satisfactory results under ordinary conditions.

As a general rule, in all the orders the impost is half a diameter high, and so is the same as the projection of the pilaster and the width of the archivolt.

This rule is not always adhered to, however, but in any case the width of the archivolt should never be more than one-eighth or less than one-tenth of the diameter of the arch, and should always be the same as the width of the pilaster.

Doric Impost

The mouldings of the Doric Impost are as follows:

At the top there is a fillet and a bold ovolo, below which there is a bead-moulding or small torus with fillet and two facias. The lower facia, which is of slight projection is one-fourth of the total height. The upper facia and fillet are half the remainder.

Archivolt

The archivolt mouldings are in the Doric order, the same as those of the impost.

Ionic Impost

The total height of half a diameter may be divided into two, and the upper half sub-divided into three. Then the upper division will be the height of the top fillet and a reversa moulding; the second the height of a facia and the third an ovolo and small torus.

The lower half of the impost consists of two facias, the upper of which is broader than the lower.

Ionic Archivolt

The archivolt, commencing at the outer rim, consists of a fillet and bold reversa moulding which occupies rather less than a fourth of the total width, and two facias of unequal widths. The width of the inner facia is nearly one-third more than that of the reversa moulding.

Corinthian Impost

The Corinthian impost differs from those of the other two orders in having a necking and necking moulding in place of the two unequal facias.

The total height should be divided into two, and the upper half divided into four. Then the top fillet and reversa moulding will be one of these divisions, the facia two, and the supporting ovolo will occupy the remaining one.

The lower half of the impost consists of a small torus and fillet beneath the ovolo, the necking, and the torus and fillet which form the necking moulding.

Corinthian Archivolt

The archivolt, commencing at the outer rim, consists of a fillet and reversa and three unequal facias.

If the total width is divided into two, the point of bisection will be the centre of a small reversa moulding between the two outer facias. The outer reversa and the inner facia are each about one-sixth of the total width and the small reversa is about two-thirds of the inner facia.

The Keystone

A projecting block, or keystone, is sometimes used at the centre of the arch. The face width of its lowest edge should not be less than the width of the archivolt. Its height is not often less than one and a half times or more than twice this width.

It may be decorated in various ways, and is frequently in the shape of a console. This form is especially suitable when the keystone comes in contact with the architrave of the entablature, in which case it is capped with a moulded abacus.

The Pedestal

The height of the pedestal is a fourth that of the column and entablature together, though this proportion may be varied to suit different conditions. For instance, when the pedestal forms part of the structure of a balcony or balustrading the height must be modified to suit the special requirements of the position.

The pedestal is composed of plinth, die and capping.

The width of the die is the same as the plinth of the base of the column above it, that is, one and one-third diameter. The projection of the capping, which is the same for all three orders is obtained by drawing a line at an angle of 30 degrees with the vertical from the top of the die.

The width of the plinth corresponds to the projection of the capping, and is determined by dropping perpendiculars from the top fillet.

The height of the mouldings between the die and plinth is determined by a line drawn from the bottom of the die at an angle of 45 degrees to intersect the vertical face of the plinth. The angle is the same for all the orders.

Doric Pedestal

In the Doric order the height of the capping is one-third diameter. The face of the die is square, and this determines the height of the plinth.

The capping mouldings consist of a fillet, facia, ovolo, fillet and cavetto. The facia is carried to the underside of the fillet in a curve, and its height is half the total height of the capping. The facia is supported by the ovolo, and a fillet and cavetto complete the capping.

The height of the course of mouldings at the top of the plinth should be divided into three, then the upper third will contain a cavetto moulding and fillet, and the remaining two-thirds an ogee and final fillet.

Ionic Pedestal

In the Ionic pedestal the plinth with its mouldings should occupy one-third the height and the capping one-fifth the remainder.

The mouldings are similar to those of the Doric pedestal, but a little more elaborate. In the capping a reversa is used under the top fillet and a small torus or bead is placed between the ovolo and the cavetto. In the mouldings of the plinth a similar bead is introduced above the ogee moulding.

Corinthian Pedestal

The same general divisions as the Ionic will give the proportions of the Corinthian pedestal, the difference being that of the scale and the detail of the mouldings.

The capping may be divided into two. The top half consists of a fillet, reversa and facia, and the lower half a supporting cyma recta, a bead and a cavetto curve. The plinth mouldings are the same as those of the Ionic pedestal with the addition of a torus beneath the ogee. The height of this torus is one-fourth the total height and is about equal to that of the cavetto and bead together.

When the pedestal is employed the arch becomes proportionately larger. In the Doric order the columns are then spaced seven and a half diameters apart; in the Ionic seven and three quarters, and in the Corinthian eight diameters centre to centre.

The archivolt, the radius of which is determined by the above spacing, is supported as before by an impost and pilaster. The base of the pilaster consists of a slightly projecting block equal in height to the plinth block of the pedestal.

The height of the arch varies slightly, inasmuch as the inner curve may be about a diameter from the architrave, but in the Corinthian order should not fall below the level of the necking moulding of the capital.

The Baluster

As already stated, the pedestal may be used as a part of a balustrading associated with balusters, and must conform to the proportions necessitated by the conditions. The usual height for balustradings, whether to steps, balconies, or before windows, is three feet two inches, though in special cases it may be slightly more.

The baluster is a species of small column. Its usual form is bulbous or vase-shaped, and it is furnished with a capital and base. A series of balusters is technically known as a balustrade.

The balusters are raised on a plinth, which corresponds to the plinth of the pedestal, and surmounted by a rail of horizontal mouldings, which correspond to the capping of the pedestal; hence the baluster is of the same height as the die.

The height of the baluster should be divided into five, then one-fifth will be the height of the base, and the capital exclusive of the necking will be another fifth. The extreme diameter of the bulbous shaft is one-third the total height of the baluster, and the diameter of the necking and the top of the shaft is about one-sixth. The capital has a square abacus slightly less in width than the plinth of the base. Below the abacus is

an ovolo and fillet, which are circular on plan. The necking is separated from the shaft by a small torus and fillet. The base has for its lowest member a square plinth, which occupies rather less than half the height and is equal in width to the extreme diameter of the bulbous shaft. Above the plinth is a scotia and a necking moulding, which are circular on plan.

Spacing of Balusters

The balusters should be spaced with not more than half their diameters or less than a third between their bases, except when employed on the rake of steps, when they may be slightly closer.

Balustrading

In a balustrading an unequal number of balusters should always be used, and not less than five in one group exclusive of the half balusters which are attached to the flanking or dividing dies. Seven and nine form very satisfactory groups, but if more than nine are necessary for the space to be filled, intermediate dies must be interposed, and these may vary from two-thirds to three-quarters the width of the principal dies.

In some cases, when a large number of balusters are to be grouped, the dies are flanked by half dies, which are less in projection than the dies themselves.

Balustrades are sometimes used above the cornice of a building, and their height should not be more than four-fifths or less than two-thirds the height of the entablature. This height would be exclusive of the plinth on which the balusters are raised. The height of the plinth is determined by the height of the building, and the projection of the cornice, as its purpose is to raise the balusters so that they may be seen from the ordinary point of view. The principal dies may be placed over columns or pilasters and should be equal in width to the upper diameters of these, though flanking half dies may be used in addition to avoid an appearance of thinness. The plinth and capping mouldings always follow the plan of the principal dies, and are carried in unbroken lines across each interval.

When the height of the balustrade does not conform to the orthodox proportions the method of determining the relative proportions is as follows:—The height is divided into seven parts; of these one part gives the height of the capping, four the baluster and two the plinth.

The mouldings in character and detail are the same as those of the pedestal, and should be in harmony with the order used.

When balustrading forms part of a stair, the height on landings should be three feet two inches. On the rake two feet ten inches from the step at a line vertical with the face of the riser. The plinth is invariably used as a string enclosing the ends of the steps and following the rake or angle in a straight line, and carried to the levels by means of curving ramps.

In interior work the bulbous shafts of balusters are often decorated with carved detail, and the mouldings also may be enriched.

Use of Columns

Columns were originally used in the porticos and courts of temples and other buildings, and sometimes to form supports for vaulted roofs. Wherever employed their function was directly structural, but this was not the case at the time of the Renaissance. The requirements demanded by widely different social conditions led to their being used more as decorative than structural features.

The use of engaged columns and pilasters in a faÇade can be justified to some extent. Although such columns and pilasters may not be absolutely essential for support, yet they act as buttresses and add to the strength of the structure with a certain economy of material. Also they are Æsthetically satisfactory in their effect of light and shade.

Disposition and Spacing in Colonnades

The disposition of columns either in a faÇade or a colonnade is controlled by proportions which have been found to be desirable or are necessitated by special features of the order itself. The latter is the case with the Doric order, the spacing being determined by the trigylphs and metopes. If the triglyphs are placed centrally over the columns or pilasters the spacing of these apart will be two and a half diameters centre to centre, three and three-quarters, or five diameters, with two, three or four metopes respectively between them in the frieze. With the wider spacing of five diameters it is usual to employ coupled columns to add to the appearance of strength. As the triglyphs are one and a quarter diameters apart centre to centre, the coupled columns are brought very close together, entailing a slight modification of the bases. Since the ordinary projection of the plinth of a sixth of a diameter beyond the line of the shaft is not possible between the two columns, the plinth-blocks are united, and the torus moulding made slightly less in projection.

The capitals being less in width are not affected, a small interval is left between the crowning reversa mouldings.

In the Ionic order the columns are spaced three and a quarter, three and three-quarters and four and a quarter diameters centre to centre. The coupled columns used with the wide spacing are one and a half diameters centre to centre or half a diameter apart at the lower extremity of the shafts.

The Corinthian spacing is slightly wider, three and a half diameters, four diameters, or with coupled columns four and a half diameters centre to centre. The coupled columns are placed as in the Ionic order one and a half diameters centre to centre.

It is desirable that attention should be given to the vertical alignment of the principal features. Dentils and modillions and indeed all strongly marked features should centre with the columns, and be equally spaced in the intervals.

Orders Above Orders

Occasionally in faÇades orders are used above one another. The Colosseum is an antique Roman example of this, and it was a treatment often adopted by the architects of the early Renaissance. It is desirable that the simpler order should be the lower one. Ionic may be used over Doric, or Corinthian over Ionic.

It is obvious that the central axes of the columns or pilasters of each order used should be in vertical alignment, not only when seen from the front, but in the case of detached columns, from the side view also.

When engaged columns or pilasters are employed, the upper tier may be set back slightly from the face of the lower order which supports it; an example of this is to be found in the Theatre of Marcellus at Rome.

The proportions of the upper order are obtained by making the lower diameter of the upper tier of columns or pilasters equal to the upper diameter of those

of the supporting order, and an effect of continuous tapering is produced.

It is usual to place above the entablature of the lower order a plinth on which the bases of the upper columns rest. The height of the plinth is regulated by the point of view, as its purpose is to display the bases of the imposed order above the projecting cornice. Generally this height will be about half a diameter.

In many historical examples the upper columns are placed on pedestals, but this treatment, although useful when a balcony is desired, is not to be recommended as the extra width and projection which the use of the pedestal entails, gives an appearance of undue weight to be borne by the supporting columns. If balconies are necessary they may terminate with their own pedestals, which can be kept clear of the columns and should not exceed them in projection.

The Pilaster

It may be as well to deal here with the treatment of pilasters, which may be defined as columns in bas-relief. Their projection may vary from one-half to about one-sixth their face width, though in antique examples it is sometimes much less than this. In the pilasters of the Pantheon at Rome it is one-tenth.

The projection is, however, partly determined by the order with which the pilaster is used, as an appearance of mutilation might easily be produced in the capitals of the Ionic and Corinthian orders. The Doric capital, being composed of moulded profiles, is not in any way affected by the amount of projection. Nor does the Ionic capital suffer when the volutes are in one plane except when used on an angle. But if the later Renaissance type with the volutes arranged at angles of 45 degrees is employed, the projection of the pilaster must not be less than half its upper diameter, so that the volute on the return face may be complete.

The Corinthian capital would be affected in the same way, and should also be not less than half a diameter in projection in order to obtain a satisfactory result.

The pilaster is usually tapered, and when associated with columns and supporting the same entablature it is essential to preserve universal alignment in the upper extremities and the architrave, but when used by itself the pilaster is often not tapered. At the angle of buildings, where both faces are displayed, it is an invariable rule that pilasters should be straight.

The details of capitals and bases are the same as those of the columns. When fluting is employed an odd number of channels should be used, usually seven on the front face.

No. 173. Doric Order. Treatment of coupled Column and Pilaster.