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E-book The Genius of Architechture or The Analogy of That Art with Our Sensations
The usual means of giving form and expression to a building in classical architecture was through the use of the orders — in Greek architecture the Doric and Ionic as a rule (though the Corinthian Order was also a Greek invention) with the addition in Roman architecture of the Tuscan and the Composite. Variants of all five orders were used throughout the Renaissance. Their proportions and the whole array of elements and moldings that related to them were analyzed and classified by architectural theorists, most notably and usefully by Vignola, whose works were published throughout Europe in many editions.2 A codified system of classical architecture was thus established. All manner of variations were possible, and nothing was, in fact, fixed; but the system was sustained by the notion of an ideal that was thought to have emerged first in Greece and to have attained equal, if not higher, perfection in Rome and in Renaissance Italy. This ideal was, in theory, absolute and scarcely to be affected by historical change or cultural differences, although for the French of Louis XIVs reign it seemed that an even higher level of achievement had been attained in France.
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