4a. The Doric Corner Conflict
This is the classic classical dilemma. Because triglyphs represent beam ends, the Greeks insisted the end triglyph be flush with the corner (figure 1 below). This resulted in two undesired side effects: the neighbouring metope was now wider than the other metopes, and worse still, the end triglyph was no longer centered over the end column. The Greeks attempted a number of different options to compensate such as: (figure 2), moving the neighbouring triglyph over to split the difference; (figure 3), preserving the metope spacing by bringing in the corner; (figure 4), a wider corner triglyph; and combinations of all three. However, an acceptable solution was not to be found as every attempt resulted in the corner triglyph not centered over the end column, and either unequal metopes, triglyphs, or column spacing.
The Second Temple of Hera in what is modern day Paestum, Italy is a good example of the Greek’s corner triglyph.
The Romans, unhindered by Greek sensibilities, simply moved the end triglyph back from the corner, aligning it over the column. Dilemma solved. As the Palais de Justice in Poitiers, France below illustrates, this has remained the preferred solution.
4b. The Ionic Corner Conflict
Ionic capitals are unique among the orders in that their side view can be different than their front view. In most uses of the Ionic order this is not an issue. However, turning a corner with an Ionic colonnade presents a dilemma.
One approach is simply to keep all the columns facing the same direction. This is illustrated by the Ionic Temple at Rievaulx Terrace below. However, the columns on either side of the building awkwardly present the side of their capitals, rather than the desired fronts.
A second approach attempts to solve this issue by turning the side columns to present their fronts. However, this introduces a new dilemma: how shall the corner column be positioned? Shall it face the front, or the side? The Ionic Temple in Chiswick House gardens has the corner column face both directions by angling the corner volute and adding volutes to both the front and side. This result remains unsatisfactory as the corner columns are no longer symmetrical, and they are different than the other columns!
An apt solution was popularized by an Italian Renaissance architect named Vincenzo Scamozzi. The Scamozzi Ionic capital draws inspiration from the corner capital’s angled volute of the above approach. However, it angles all four volutes so that the capital’s side view is the same as its front. Dilemma solved. The King’s Chapel in Boston demonstrates the Scamozzi Ionic capital.
The Scamozzi Ionic capital works well in all situations. However, should the parallel volute variant be preferred, an elegant solution exists for engaged Ionic columns. In this approach the corner is formed not by a single column, but by two separate columns; one on each façade. This is masterfully employed on Gare du Nord shown below.
4c. The Inside Corner Column Issue: Arcaded Loggia
Arcaded loggias are often used inside courtyards to offer additional shelter from the elements. It is quite natural to place a single column at the inside corner as illustrated by the courtyard of Palazzo dei Normanni below.
This is a satisfactory approach unless a solid wall is placed directly above an arcade. This occurs in Palazzo Medici Riccardi which is shown below. Here, two issues emerge.
- The corner column supports the weight of two walls, appearing visually overburdened and spindly.
- The windows should naturally be centered on the arcade openings below them. However, this causes the end windows to be awkwardly crowded into the corner.
An elegant solution that addresses both issues is to replace the single corner column with a square pillar and two engaged columns. Palazzo della Cancelleria illustrates this approach below. Here the corner pillar and engaged columns are more appropriately sized to visually support the walls above them. They also place the arcade opening farther from the corner, giving the window centered above more space from the corner as well.
4d. The Round and Square Column Dilemma
It is not uncommon to bookend round columns with square columns (also called piers). The entrance on Lancaster Place of Somerset House shown below is a good example of this.
Recall from Guideline 2d. that round columns shall have entasis (tapering), and square columns should not. Because the widths of square columns should match the diameter of the round columns at their base, round columns are narrower than their square counterparts at the top of their shafts. This presents a dilemma as the frieze should align with the top of the column’s shaft (Guideline 2e); however, the top of the shafts of the round and square columns don’t align!
One approach is to use entasis on the square columns also. This can be done, and Somerset House below is such an example. However, as can be seen, using entasis on square columns aesthetically weakens the corners and is therefore not recommended.
Another approach is to align the frieze with the top of the round column shafts and thus have the square columns extend beyond the frieze. This approach was taken on the ends of St. Peter’s collonade in the Vatican. However, notice the left square column below, it is painfully obvious the column doesn’t align with the frieze. Because this misalignment is so conspicuous, this approach is also not recommended.
The reverse approach is to align the frieze with the square columns and thus have the top of the round column shafts slightly inset. This can be seen on Her Majesty’s Treasury Building in London. This works well as alignement, or lack thereof, is most noticeable on the corners, and this approach ensures the corner columns and frieze are aligned. The round columns are not aligned with the frieze, but this is difficult to notice, even when specifically looking for it. Because this misalignment is so subtle, this is the preferred approach and should be implemented the majority of the time.
The Bibliotheque de St Jean in Lyon illustrates an additional approach the may be viable in certain situations. Instead of trying to resolve misalignment of the round and square column shafts, it embraces it. The entablature frieze aligns with the round columns and then is built out over the square columns to align with them as well. This stepped entablature is then brilliantly employed to form a pediment with a receding base. A beautiful and elegant solution!
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