Alternative Order Elements

Tuscan Alternative Elements

Doric Alternative Elements

Doric Alternative Cornices

One additional note here is that there are two other cornices used in the entablatures of the Doric order. These are what might be called the Antique cornice and the Denticular cornice.

The Antique cornice is the type used by the Greeks, described by Vitruvius, and shown by both Serlio and Palladio. The main difference with the Mutular is that the mutules of the Antique don’t hang down out of the soffit, but are embedded up into it. Examples of this can be found in the treatises of both Serlio and Palladio, as well as in Chambers’ treatise, where he shows an example from Palladio’s Basilica at Vicenza.

The Antique cornice can easily be created following the steps in this chapter. The main change will be just to adapt the formation of the guttae on the undersides of the mutules so they are on the undersides of the soffit.

The Denticular cornice is first found used in the Doric order (to my knowledge) in the Theatre of Marcellus in Rome, dating to the 1st century B.C., and was made popular when Vignola adopted it as an alternative in his treatise on the orders. This form replaces the prominent hanging mutules with dentils placed under the soffit, combined with the inset mutules of the Antique form.

The Denticular cornice can be created by combining what you learned here with what will be shown in the next chapter on the Ionic entablature, whose primary feature are it’s dentils under the soffit.

The Doric free-hanging guttae from Albano (Espouy & Langley & Chambray)?

Alternative Form of the Doric Triglyph

Ionic Alternative Elements

Alternative Methods of Forming the Ionic Volute

As I stated earlier, there are a number of different ways of forming the Ionic Volute, so below I will show the main alternatives to that of Nicolaus Goldmann that was shown earlier in the Ionic Order chapter.

The primary methods I have found for forming the Ionic Volute are:

According to Sebastiano Serlio, from Regole generali di architettura of 1537 (apparently derived from Alberti & Durer)
According to Giuseppe Salviati, from Regola di far perfettamente col compasso la voluta jonica et del capitello ionico et d’ogni altra sorte of 1552 (used by Palladio and Vignola)
According to Philibert Philandrier, from Gulielmi Philandri Castilionii Galli civis Ro. In decem libros M. Vitruuii Pollionis de architectura annotationes of 1544 (an alternate method shown by Vignola)
According to Nicolaus Goldmann, from Vitruvii voluta ionica of 1649 (used by Chambers and Chitham, and which was shown in the chapter on the Ionic Order)
and, using DrawMetal’s CurveMaker & TaperMaker SketchUp Plugins (the Volute of which appears based on that of Philandrier).

If you take the time to create all five of the different methods and overlay them on top of each other (as shown below), you will notice that all of them present different profiles for the Volute & Fillet, so there is not only a matter of ease of creation, but also of personal taste, with regards to which method you use to create your volutes.

Insert an illustration showing all five different volutes to compare the different curves generated.

One thing to keep in mind regarding the methods presented here are that there are not only significant differences in their forms, but if you follow the original instructions there are differences in their placement as well. Serlio & Palladio both give directions for finding the Eye of the Volute (both placing it even with the center of the Astragal), while Vignola’s Plate shows clearly where it is to be located, but Chambers does not provide this information in his Treatise, so must be extrapolated from other sources (my interpretation making the center of the Eye even with the top of the Astragal, matching that of Vignola).

In the following instructions I have modified the originals (generally leaving out the initial steps for finding the location of the Eye and proportions of the Volute) so they match the dimensions given by Chambers for his Ionic Order. Using the steps below would still be perfectly easy following the original treatises, just adjusting the location and proportions.

You should be aware that drawing the Ionic volute is a three step process: 1) Draw the catheter and construction lines in the eye of the volute; 2) Set the centers and draw the arcs for the outer volute; and 3) Set the centers and draw the arcs for the inner volute, which forms the fillet.

The Volute of Sebastiano Serlio

Perhaps the earliest way to form the volute that gained wide attention first appeared in Book IV of Sebastiano Serlio’s Treatise, published in 1537, and might be based on a description of Alberti’s (though Alberti only describes the first rotation, and not how to continue the diminished curve) or on a work by Dürer.

This method, comprising only six semi-circles centered on a vertical line within the Eye, is remarkable for its simplicity, though it seems to lean a little to the outer side, so the lower curve seems to be closer to the Column. In addition, while he describes how to create the inner Volute (for the Fillet), he does not do so in detail, and notes This matter (as I said) consists more in the practice than in the art because making it diminish both to a greater or lesser extent is dependent on the architect’s judgment in placing the point of the compasses a little higher or a little lower.

Create the Eye & Set the Centerpoints

Set a Guide for the top of the Volute (at the bottom of the Abacus Cymatium), and a pair of Guides for the Center of the Eye of the Volute (at the top of the Astragal and at the projection of the lower curve of the Abacus Cymatum)
Draw a Circle, with a Radius of 1 2/3 min, to represent the Eye of the Volute, centered at the Guide intersection created above
Draw a Line bisecting the Circle from top to bottom, and Divide the Line into 6 parts, with the top of the highest part set as 1, the top of the next part down set as 3, the top of the next part down set as 5, then the bottom of the next part (below the Center of the Eye) being 6, the bottom of the next part being 4, and the bottom of the lowest part being 2

Select the Geometry created above and make it a Component Ionic-Serlio-Volute-Eye-construction

Create The Outer Arcs

Now draw a half-circle Arc, centered on 1, with a Radius set to the height of the Volute, and continue drawing half-circle Arcs, centered on the appropriate number, with their Radius set to the Endpoint of the previous Arc

When finished, Select all the Arcs and make them a Component Ionic-Serlio-Volute-Arcs-Outer

Create the Centerpoints for the Inner Arcs

Copy the Construction Component created above, Hide the original, Paste-in-Place, Make Unique, and Rename Ionic-Serlio-Volute-Fillet-construction
Open the Component, and Divide the 2 inner parts either side of the Center into 3 parts each, then Close the Component

Create the Inner Arcs

Draw a half-circle Arc, Centered on the original number 1, but with a Radius set to the height of the Fillet, and draw the next Arc centered on the original number 2 as well, keeping its Radius equal to the Endpoint of the previous Arc
For the next 2 Arcs, make their Centers the Midpoints of the next Parts inward towards the Eye of the Volute from each original Point used above, their Radii remaining the Endpoints of the previous Arcs
For the last 2 Arcs, make the Center of the first be 1/3 of the way down from the top of the original number 5, and the last Center be at the Midpoint of the first third division above number 6 (so the last of these is 1/2 as close to the Center of the Eye as the first of these)

Now Select all the Arcs and make them a Component Ionic-Serlio-Volute-Arcs-Inner
Hide all the Components, except for the two Volute Arc Components

Create the Volute Fillet

Select the two Volute Arcs, Copy them into Memory, Hide the originals, and Paste-in-Place
Select both Volute Arc Components, make a new Component Ionic-Serlio-Volute-Face, Open it, and Explode the Arc Components

Using the Weld Extension, carefully join the innermost exploded arcs back together into a pair of arcs joining together at the end into a single arc that completes the Volute where it will meet with the Eye of the Volute. Then selecting each of these larger arcs in turn, weld them to the separate arcs they are connected to until you have 3 arcs in total: the Outer Arc, the Inner Arc, and the small innermost Arc where the other two join together.
Draw a Line connecting the Endpoints at the largest diameter of the Arcs (thus forming a Face for the Volute Fillet)
You can now proceed with turning the Volute Profile into a 3D object in the chapter on the Ionic Order

The Volute of Giuseppe Salviati

Possibly the most famous method of forming the Ionic Volute derives from a pamphlet published in 1552 by the Venetian painter Giuseppe Salviati, and later adopted for use by Palladio, Vignola, Scamozzi, Perrault & Gibbs, among others.

This method uses 12 quarter-circles, whose centers are created by the creation of squares within the Eye, but suffers (in my experience) by the fact that the successive arcs do not meet up easily after each full revolution of the Volute, so require interpretation as to how to proceed.

The issue is that the start of the second full revolution is located to the right of the start of the first revolution, so if you terminate the first revolution such that the arc is a true quarter-circle (like the previous three arcs), then you have a gap before the location at which the next arc is supposed to start.

I have found three methods you can use to solve this problem:

The first, which appears to be the canonical way, is to close the gaps in the revolutions is shown by Pierre Esquie in his translation of Vignola (and further used by Denise Andrey & Mirko Galli in their Article Geometric Methods of the 1500s for Laying Out the Ionic Volute and involves drawing a diagonal line running from the last Centerpoint of the previous revolution upwards & outwards through the first Centerpoint of the next revolution to provide a stopping/starting point for the curve of the next revolution. My issue with this is that the endpoint of the final revolution does not meet the Eye at the top, but some distance below it to the left on the curve of the Eye instead (which may, or may not, be desired).
The second to close the gaps is to set a vertical Guide at the point of the next revolution and stopping the previous revolution there, instead of directly above that revolution’s center. This appears to be what Gibbs might have intended, as he clearly shows dotted lines going vertically up from the Centerpoints, but his text does not mention how to join the revolutions. This again, though, causes the endpoint of the final revolution to not meet the top of the Eye, though it does come closer than the above technique.
The last way to close the gaps is to have the revolutions start and stop after creating true quarter-circles and join the segments together with short straight lines. This is the only technique I have found that will end the final revolution at the very top of the Eye of the Volute (which, as stated above, may or may not be desired). However, I can find no support for this in any Authority I have looked at, so it may not be a proper technique to use (having been devised by myself through a misreading of a passage in the Andrey/Galli article, that states Euclid proves that the point of contact between two circles and their two respective centers are on the same straight line).

In addition to the issue of where the succeeding revolutions of the Volute meet, there is the issue of forming the Fillet through the creation of the inner set of Arcs.

There are two methods I have found to do this, which give very different results:

The first is that of James Gibbs, which uses a series of Centers combining both the Centers for the outer Arcs as well as Centers 1/3 of the way in towards the Center of the Eye. This produces a fairly thick Fillet, which, indeed, Chambers complained about, saying it was faulty in the breadth of the fillet, which is equal through the greatest part of the first revolution.
The second way to form the Fillet is found in Pierre Esquie’s translation of Vignola, and this Divides the diagonal Divided Lines into 12 parts each (going from the Center to the Circle of the Eye) instead of the 3 parts of the original Arcs, and setting the Centers at the first Division inwards of each of the 3 orginal Divisions. This results in a Fillet that narrows both more evenly throughout and to a greater degree at the end (though still not tapering to the same degree throughout as Goldmann’s method).

As far as the example below is concerned, I will use the canonical method for the outer arcs and provide instructions for both Gibbs’ and Vignola’s methods for the inner arcs.

The Eye of the Volute

Set a Guide for the top of the Volute (at the bottom of the Abacus Cymatium), and a pair of Guides for the Center of the Eye of the Volute (at the top of the Astragal and at the projection of the lower curve of the Abacus Cymatum)
Draw a Circle, with a Radius of 1 2/3 min, to represent the Eye of the Volute, centered at the Guide intersection created above

Draw a Line from the top of the Circle downwards and rightwards to the far right midpoint of the Circle, then continue the Line downwards and leftwards to the bottom of the Circle, then again continue it upwards and leftwards to the far left midpoint of the Circle, and finally continue it back up to the top of the Circle (to create a diagonal square centered in the Eye of the Volute)
Draw a Line from the Midpoint of the top-left diagonal Line over on the Red Axis to the Midpoint of the top-right diagonal Line, then continue the Line down, left and up, connecting the Midpoints of each of the diagonal Lines, to create another square, this time inside the diagonal square

Draw a Line, from the top-left corner of the last square created, downwards and rightwards to the bottom-right corner of the same square, and Divide the Line into 6 parts, then draw another Line, from the top-right corner of the square downwards and leftwards to the bottom-left corner of the square, and Divide that Line into 6 parts also (or, actually, Divide the two halves of the Line into 3 parts each, as the Line is bisected by the first Line drawn)

Select all of the Geometry and make it a Component Ionic-Salviati-Volute-Eye-construction

Create the Outer Arcs

Draw a quarter-circle Arc, Centered on the top-left corner of the inner square and with a Radius set to the bottom of the Abacus, outward to the right
The second quarter-circle Arc Center will be at the top-right corner of the inner square and have a Radius set to the Endpoint of the previous Arc
The third quarter-circle Arc Center will be at the bottom-right corner of the inner square and, again, have a Radius set to the Endpoint of the previous Arc
The fourth Arc Center will be at the bottom-left corner of the inner square, with a Radius to the last Endpoint, but this time selecting the first Division inwards (towards the Center of the Eye) from the top-left corner of the square, as the Arc second point (this is in lieu of setting a Guide or Line from the bottom-left corner of the inner square diagonally upwards & rightwards that would pass through the first Division mentioned above)
Start the first Arc of the next revolution at the first Division inwards from the top-left corner, set the Radius equal to the Endpoint of the last Arc of the previous revolution (or the Endpoint of the short Line if you are using the alternate method), and making a turn that ends at a point equal to the position of the Center of that Arc on the Red Axis (SketchUp should show a red dotted line when it reaches that point)
Now, we repeat the next two Arcs, just as before, only using the first Division inwards from the corners as Centers, with Radii equal to the last Endpoints and creating true quarter-circles
The last Arc of this revolution will start at the first division inwars from the bottom-left corner, Radius again set to the Endpoint of the last Arc, and terminating again (like the Arc at the end of the last revolution) with an Arc second point equal to the next Division inwards (this being the second Division inwards from the corner, again in lieu of a Guide or Line running from the Arc Center through this point)
Start the first Arc of the last revolution at the second division inwards from the top-left corner, with a Radius set to the Endpoint of the last Arc (or the short Line), and making it terminate at a point equal to it’s Center on the Red Axis
As before, continue the Arcs, this time using the third Divisions inwards from the corners as the Centers, the Radii set to the Endpoints of the previous Arcs, and making them true quarter-circles, until the last Arc, which will terminate against the Eye of the Volute

Select all of the Arcs created, make them a Component Ionic-Salviati-Volute-Arcs-Outer, then Hide the Component

The Inner Arcs of James Gibbs

Copy the Component Ionic-Salviati-Volute-Eye-construction, Hide the original, Paste-in-Place, Make Unique, and Rename Ionic-Salviati-Gibbs-Volute-Fillet-construction
Open the Component, and draw Rectangles from the top-left Divisions down to the bottom-right Divisions, so you have a smaller square inside the larger, then an even smaller square inside that (this is simply to help in identifying the correct Centerpoints, in relation to the original thirds, for the following steps)
Now, Divide the outer third divisions of the top-right, bottom-right & bottom-left Divided Lines into 3 parts each
Then Divide the middle third divisions of the bottom-right & bottom-left Divided Lines into 3 parts each also, then Close the Component
The height of the Fillet of the Volute is 1 2/3 min, so set a Guide using that distance coming down from the Guide marking the bottom of the Abacus
Start the first Arc with a Center at the top-left corner of the original square (the same Center as for the first Outer Arc), with a Radius equal to the Guide set above, and set the Arc’s second point as the first Division inwards of the top-right outer third
Set the Center for the second Arc at that same first Division of the top-right outer third, Radius set to last Endpoint, and the draw till its Endpoint is in line with its Center
The next Arc’s Center will be the first Division of the bottom-right outer third, Radius set to last Endpoint, and made as a quarter-circle
The last Arc of the first revolution will have its Center at the first Division of the bottom-left outer third, Radius set to last Endpoint, and setting the Arc’s second point at the second Division inwards from the top-left corner (the top-left corner of the middle square)
The first Arc of the next revolution will be Centered on the second point used above (the top-left corner of the middle square), Radius equal to last Endpoint, with its own Endpoint equal to its Center on the Red Axis
The next Arc will be Centered on the top-right corner of the middle square, Radius equal to last Arc, and drawn so its second point is the first Division inwards of the middle third of the bottom-right
The next Arc will be Centered on the second point of the previous Arc, Radius equal to the last Endpoint, and drawn so its own Endpoint is equal to its Center on the Red Axis
The last Arc of this revolution will have its Center on the first Division of the middle third of the bottom-left, Radius set to last Endpoint, and with its second point set to the third Division inwards from the top-left corner of the original square
The first Arc of the last revolution will be Centered on the second point of the previous Arc (he third Division inwards from the top-left corner of the original square), Radius equal to the Endpoint of the last Arc, and finishing equal to its own Center on the Red Axis
The next Arc will be Centered on the last Division inwards from the top-right, Radius set to last Arc, drawn as true quarter-circle
The next Arc will be the last, and will be Centered on the last Division inwards from the bottom-right, Radius set to Endpoint of last Arc, and finishing when it reaches the circle of the Eye of the Volute

Once all the arcs have been created, select all of them and make them a Component Ionic-Salviati-Gibbs-Volute-Fillet-Arcs
Hide all the Components, except for the two Volute Arc Components (those of Salviati for the Outer and Gibbs for the Inner) and the Eye Construction Component

The Volute Fillet of James Gibbs

Open the Eye Component, and Select the two quarter-circle Arcs forming the left side of the Eye, Copy them into memory, Close & Hide the Component, and Paste-in-Place
Select the two Volute Arc Components, Copy them into Memory, Hide the originals, Paste-in-Place, and Explode the two Components

Trim the extra Arc segments at either end of the Volute Arcs where the overlap the Eye Arcs
Then Selecting each of the Volute Arcs in turn, Weld all the separate Arcs into their own curves, so you have three arcs in total: the Outer Arc, the Inner Arc, and the smaller Arc forming the upper-left part of the Eye of the Volute
Draw a Line connecting the Endpoints at the largest diameter of the Arcs (thus forming a Face for the Volute Fillet)
Double-Click the Face just created, and make a Component Ionic-Salviati-Gibbs-Volute-Face
You can now proceed with turning the Volute Profile into a 3D object in the Chapter on the Ionic Order

The Inner Arcs of Vignola via Pierre Esquie

Copy the Component Ionic-Salviati-Volute-Eye-construction, Hide the original, Paste-in-Place, Make Unique, and Rename Ionic-Salviati-Vignola-Volute-Fillet-construction
Outside the Component, draw a diagonal Line going from the top-left of the inner square down to the bottom-right, and Divide the Line into 24 parts, then (with the Divided Line still Selected) Rotate/Copy the Divided Line 90 degrees (Rotated on the Center of the Eye)

Select both large Divided Lines, and Cut/Copy them into memory
Open the Component, and draw Rectangles from the top-left Divisions down to the bottom-right Divisions, so you have a smaller square inside the larger, then an even smaller square inside that (this is simply to help in identifying the correct Centerpoints, in relation to the original thirds, for the following steps)
Now Paste-in-Place the Cut/Copied Divided Lines, and Close the Component
The height of the Fillet of the Volute is 1 2/3 min, so set a Guide using that distance coming down from the Guide marking the bottom of the Abacus

Draw a quarter-circle Arc, Centered on the first Division inwards of the top-top-left third, with a Radius set to the bottom of the Abacus, outward to the right
The next quarter-circle Arc Center is the first Division inwards of the top-top-right third, and the last quarter-circle Arc Center is at the first Division inwards of the bottom-bottom-right third
Last Arc of the first revolution Center is at the first Division inwards of the bottom-bottom-left corner, with the first Division inwards of the top-middle-left third as the second point of the Arc
First Arc of the next revolution Center is the first Division inwards of the top-middle-left third, and with its Endpoint in line with its Center
Next two Arcs duplicate the other two along the bottom, just using the first Division inwards from the middle thirds as Centers and creating true quarter-circles
Last Arc of the second revolution Center is at the first Division inwards of the bottom-middle-left third, and with its second point at the first Division inwards of the top-left-innermost third
First Arc of the last revolution Center is the first Division inwards of the top-left-innermost third, and with its Endpoint in line with its Center
Next two Arcs duplicate the other two along the bottom, just using the first Division inwards from the bottom innermost thirds as Centers and creating true quarter-circles
Last Arc of the last revolution uses the first Division inwards from the bottom-left-innermost third as Center, being drawn as a true quarter-circles (which will project somewhat into the Eye of the Volute, which can be cleaned up later)
Once all the arcs have been created, select all of them and make them a Component Ionic-Salviati-Vignola-Volute-Fillet-Arcs
Hide all the Components, except for the two Volute Arc Components (those of Salviati for the Outer and Vignola for the Inner) and the Eye Construction Component

The Volute Fillet of Vignola via Pierre Esquie

Open the Eye Component, and Select the top-left quarter-circle Arc of the Eye, Copy it into memory, Close & Hide the Component, and Paste-in-Place
Select the two Volute Arc Components, Copy them into Memory, Hide the originals, Paste-in-Place, and Explode the two Components
The above action should result in the arc copied from the Eye of the Volute being converted into separate line segments, so Erase the extra Arc segments at either end of the short Arc from the Eye, and Erase the hanging Endpoints from the Volute Arcs where the overlap the Eye Arc
Then Selecting each of the Volute Arcs in turn, Weld all the separate Arcs into their own curves, so you have an Outer & Inner Arc

Draw a Line, coming down on the Blue Axis from the top Endpoint of the Outer Arc till it reaches the Guide marking the Fillet of the Volute, then continue it rightwards on the Red Axis till it connects with the Inner Arc (thus forming a Face for the Volute Fillet)
Double-Click the Face just created, and make a Component Ionic-Salviati-Vignola-Volute-Face
You can now proceed with turning the Volute Profile into a 3D object in the Chapter on the Ionic Order

The Volute of Philibert Philandrier

Another Renaissance method is that shown by Philibert Philandrier in his Annotations to Vitruvius, published in 1544, and included by Vignola in his treatise as an alternative design to that of Salviati.

Based on a previously published construction by Dürer for generic spirals, which Philandrier adapted to the Ionic volute, the method became famous in its own right, and was later reprised by Vignola, who set it next to Salviati’s method, presenting it as a valid alternative.

This method is perhaps the most complex of those mentioned here, as it requires creating a secondary triangular construction to determine the lengths of the arc endpoints away from the Eye

Draw the Eye & Construction for the Volute

Set Guides at the bottom of the Abacus Cymatium (which will be the top of the Volute), another 15 min down (which will be the top of the Column Shaft & Center of the Eye of the Volute), and another 26 2/3 min down (which will be the length of Philandrier’s Cathetus & the bottom of the Volute)
Set another Guide at the projection of the bottom (or lower curve) of the Abacus Cymatium (which is the location of the Eye of the Volute)

Create the Cathetus by drawing a Line, from the intersection of the Guides marking the bottom & projection of the Abacus Cymatium, downwards 26 2/3 min (equaling the Guide marking the bottom of the Volute) and Divide the Line into 16 parts (each of which will equal one of Vignola's 36^th parts or 1 2/3 min)
Select the 7 lowest parts of the Divided Line and Rotate them 90 degrees counter-clockwise, centered on the top of the Selected Lines
Draw a Circle (for the Eye of the Volute), centered on corner of the two Divided Lines, with a Radius equal to 1 part (thus leaving 8 parts above and 6 parts to the right of the Eye)
Draw a Line, connecting the top Endpoint of the vertical Cathetus and the rightmost Endpoint of the rotated horizontal Cathetus, forming a triangle
With the right tip of the triangle as the Center, draw an Arc from the center of the Eye upwards to the diagonal Line drawn above

Divide the upper section of this Arc (that above the Eye of the Volute) into 24 parts
Select the parts of the Cathetus line that are above the top of the Eye and Erase them, replacing them with a new single Line
Select all of the Geometry created so far and make it a Component Ionic-Philandrier-Volute-Eye-construction
Set a series of Guides, whose angles are determined by the right tip of the triangle and each of the divided points of the Arc (where these Guides intersect with the vertical line of the Catheter will determine the lengths of the construction lines whose endpoints will be the connecting points for the arcs of the Volute)

Set the Lengths of the Quarter Angles of the Volute

Draw a Line, from the top of the Eye upwards to the topmost Guide on the Cathetus (not the very top of the Cathetus, the Guide right below that), then Rotate it 45 degrees clockwise, centered on the Center of the Eye, and then Erase that Guide

Continue drawing Lines along the Catheter, each going from the top of the Eye upwards to the new topmost Guide, rotating each 45 degrees clockwise from the last line (so the 2^nd would rotate 90 degrees, the next 135, then 180, then 225, then 270, then finally 315 degrees) till you draw the 8^th Line, which will remain vertical
Select the 8 lines and make them a Component Ionic-Philandrier-Volute-Arcs-Outermost-construction, then Hide them, and repeat the process to create the next 8 lines (creating another Component Ionic-Philandrier-Volute-Arcs-Midmost-construction), then finish with the last 7 lines (creating another Component Ionic-Philandrier-Volute-Arcs-Innermost-construction)

Create the Outer Arcs

Unhide the 3 Arcs Construction Components
Draw a 2-Point-Arc, starting at the top of the Cathetus, with its Endpoint on the outermost 3^rd rotated Line (at 90 degrees) and its bulge set to the outer 2^nd outermost rotated Line (at 45 degrees)

Continue drawing Arcs, the starting points being the end of the previous Arc, the ends being 90 degrees clockwise and their midpoints being 45 degrees, with the 4^th Arc you draw having its startpoint and midpoint on outermost rotated Lines and its Endpoint on a midmost rotated Line, then continue as before, this time using the midmost rotated Lines, until the 8^th Arc, connecting the midmost and innermost rotated Lines, the very last Arc terminating at the top of the Eye of the Volute (which is equal to the bottom Endpoint of the vertical construction Line above the Eye)
Select all of the Arcs just drawn, and make them a Component Ionic-Philandrier-Volute-Arcs-Outer
Hide the Arcs & Construction Components, and Unhide the Eye Construction Component

Draw the Construction for the Fillet

Set a Guide at the Height of the bottom of the Fillet of the Volute
Set another Guide vertically where the above Guide intersects the diagonal line of the Triangle created for the Volute
Just as before, set a series of Guides going from the tip of the Triangle out to the divided points of the Arc
Now draw a series of short Lines, along the Red Axis, from the intersections of the vertical Guide and the diagonal Guides, out to the Catheter Line (except for the intersection with the last Guide at the bottom that actually reaches the top of the Eye)

When all the short Lines have been completed, Select them all, and make them a Component Ionic-Philandrier-Fillet-Eye-construction
Now, Erase the diagonal Guides, and set horizontal Guides at each of the heights of the short Lines created above

With the Lines & Guides set, follow the previous steps in drawing the Lines that will establish the lengths needed for the curve of the Fillet, only using the intersection of the Cathetus & the short Lines drawn above instead of the diagonal Guides, and Deleting the horizontal Guides to keep your place

As each group of rotated Lines are created, make them a Component Ionic-Philandrier-Fillet-Arcs-Outermost/Midmost/Innermost-construction and Hide the Component and proceed with the next grouping

Draw the Curve of the Fillet of the Volute

Just as before, when all the Lines have been created, Unhide the 3 Components, and draw an Arc, this time starting at the intersection of the Cathetus and the Guide marking the height of the Fillet , with its Endpoint on the outer 3^rd rotated Line (at 90 degrees) and its bulge set to the outer 2^nd rotated Line (at 45 degrees), then continue just as before, with the last Arc terminating at the very top of the Eye
Select all of the Arcs just drawn, and make them a Component Ionic-Philandrier-Volute-Arcs-Inner
Hide all the Components, except for the two Volute Arc Components (Inner & Outer)

The Volute Fillet

Select the two Volute Arc Components, Copy them into Memory, Hide the originals, Paste-in-Place, and Explode the two Components

Then Selecting each of the Volute Arcs in turn, Weld all the separate Arcs into their own curves, so you have an Outer & Inner Arc
Draw a Line, coming down on the Blue Axis from the top Endpoint of the Outer Arc till it connects with the Inner Arc (thus forming a Face for the Volute Fillet)
Double-Click the Face just created, and make a Component Ionic-Philandrier-Volute-Face
You can now proceed with turning the Volute Profile into a 3D object in the Chapter on the Ionic Order

The Volute According to The CurveMaker & TaperMaker SketchUp Extensions

The CurveMaker Extension by Draw Metal LLC is a tool that can be used to create not just the Ionic Volute, but over a dozen other complex curves as well, including the Archimedes & Bernoulli spirals, Sine & Cosine waves, and a Helix form. The TaperMaker Extension allows you to create a tapering form along a selected path, formed of different profiles, including Square, Rectangle, Round, Hexagon & Diamond.

The Ionic Volute that this Extension makes is based on Philandrier’s method, so if you appreciate the look of his Volute, this is an easy way to create that form. This Extension does not, however, provide an easy method to create the secondary Volute for the Fillet, but the Company’s TaperMaker Extension fulfills that need.

The Extension is available free from the Extension Warehouse (search for “Curve Maker”), the SketchUCation Plugin Store (for members of that site), or from their own website.

Create the Volute

To use the Extension, choose Extensions on the Menubar, then CurveMaker, followed by Draw a Curve.
In the first dialog, for Type, select Ionic Volute, and leave Options blank
In the Enter Parameters dialog, the following are the options that I used when creating the Volute to work with William Chambers dimensions:

Options to Create the Volute with CurveMaker
Option	Default Value	My Changes
Name	Ionic Volute	Can be left at default
Turns	3	3 (the default number of 360° turns in the Ionic Volute)
Radius	9″	15″ (this matches William Chambers’ dimensions)
Draw eye	yes	No (this can be left at default if you want, but it is helpful to not have it if you are creating the Fillet with TaperMaker as shown below)
Sides/Turn	36	The number of Sides per 360° Arc (can be left at default, but a larger number gives a smoother resulting Volute, so I changed mine to 48)
Clockwise	no	Can be left at default, as it’s for the right side of the Profile
Curve Origin	0", 0", 0"	Can be left as is, and the Volute then moved into place; if you want to exactly specify the location, the numbers refer to the Red, Green, & Blue Axes)
Height	0″	0″ (this determines the depth of each 360° turn, with a positive number having the Eye recessed, and a negative number having the Eye protruding from the surrounding Volute)

Unless you set a specific Origin, Zoom Extents to see the Volute, then Select the Group the Extension created (you can do so by the Guide Point that was created in the Center of the Volute), and Move it to the proper location
Right-Click the Group called Ionic Volute, and turn into a Component Ionic-Curvemaker-Arcs-Outer

Create the Fillet

With everything else Hidden except for the Volute Outer Arcs Component
Open the Component, Select All, Close, and Paste-in-Place, then Erase the Guide Point at the Center (which is not needed)

Select the curve, and choose Extensions on the Menubar, then TaperMaker, followed by Draw a Taper.
In the first dialog, for Section, select the appropriate profile, which for this example is Rectangle, and leave Options blank
In the Enter Parameters dialog, the following are the options that I used when creating the Fillet to work with William Chambers dimensions:

Options to Create the Fillet with TaperMaker
Option	Default Value	My Changes
Name	Rectangle	Can be left at default
From T x W	1/2” x 1	1/64” x 2 1/4” (T = Height & W = Depth of inner Endpoint at top of Eye)
To T x W	1/4” x 1/2	1 2/3” x 2 1/4” (T = Height & W = Depth of outer Endpoint at bottom of Abacus)
Path Position	Center	Top (Options are Center, Left, Right, Top, Bottom, Lower Right, Lower Left, Upper Right, Upper Left)
Bevel Angle	0.0

You will next be asked to confirm the options visually: Are the from (green) & to (red) cross-sections at the correct ends of the path?; Are the faces oriented correctly?; Is the path on the correct side?

The Extension will create a Group called Rectangle, which you can Right-Click and turn into a Component Ionic-Philandrier-Volute-Fillet

The new Geometry will have some non-optimal features that you can cleanup, such as all of the individual Faces of the Arc segments separated by visible Edges, and the entire grouping centered (depthwise) on the original Arc (which still remains, so will need to be Erased, as well)
Once complete, this Fillet can then be used when creating the 3D finished Volute in the Ionic Chapter

The Ionic Antique Corner Capital

As stated at the beginning of this chapter, there are special capitals used at the corners when the Antique Ionic capital is used in a building. This form was developed by the ancient Greeks, who moved the volutes to the two outer sides, angling the pair on the outer corner out at 45 degrees, and having the bolsters on the two inner sides, the inner corner volutes butting up against each other as necessary.

As stated at the beginning of this chapter, due to the form of the Antique Ionic Capital the view from the sides differs from that of the front, so an expedient was found to deal with this by the ancient Greeks, in which Capitals on corner Columns had their two outside views being considered the ‘front’, the point where they meet at the corner having their Volutes extended out at a 45 degree angle.

The handling of the corner volute differs according to different authorities.

Chambers himself does not show a corner Ionic capital. Of this form he says the distorted figure of the antique capital [when used at a corner], with one volute straight and the other twisted, is very perceptible, and far from being pleasing to the eye.

Chambers does show two variants of the modern or angular capital, each of which treats the corner volutes differently. The example from the “Roman College” features volutes connected by a channel across each front, but the volutes angle both horizontally and vertically (being wider at the top and inside and narrower at the bottom and outside), as well as being connected at the corners by a complex compressed bolster-like element. The example he titles the “Angular Capital” has the volutes extending out 45 degrees from the center of the column, with just a solid fillet connecting them, their ends disappearing downwards into the top of the ovolo. However, neither of these seems like a good candidate for how to treat the corner of his Antique capital.

Palladio illustrates an Ionic corner capital Plate XXXIII of his Fourth Book, from the ‘Temple of Fortuna Virilis’. This has the pair of normal volute fillets (which are here formed of two astragals) and smaller bolster fillets separated by a cavetto-shaped fillet that appears about half the size of the volute fillet (or equal to one of the astragals forming the fillet).

This is shown clearly by Palladio in Plate XXXIII of his Fourth Book, where he shows the Temple of Fortuna Virilis. Here it is clear that the form is simply the Volute ‘Fillet’ (which in this case has an edge that takes the form of a pair of Astragals) and the small inner Fillet next to the Bolster, on either side of a Cavetto. The translation of Vignola by Pierre Esquie has an example that is similar, with the two Volute & Inner Fillets flanking another Fillet. In both cases, the Volutes on the interior corner simply abut up against each other, cutting into each other as required.

Vignola does not show a corner capital in his treatise, but the later edition by Pierre Esquie shows a corner capital (in Pl. XXII), and there the volute fillets are separated by another fillet of about the same width. This is somewhat confusing, though, as the three fillets appear separated by very small fillets (though there is no bolster fillet on his regular capital), and the central fillet appears slightly larger than the volute fillets. Whether this actually represents what Vignola would have done is not something I can verify, but it does offer an example of how it might be treated.

In both the Palladio and Esquie examples the volutes on the interior corner simply appear to abut up against each other as required.

To form this in SketchUp you could simply make a copy of one of the Volute Half Components and extend the Volute out and then rotate it 45 degrees. The Fillet & Fascia could then be smoothed into the straight ‘fronts’ with a pair of curves to smooth the transition. The inside corner of the Capital is shown as just the two Bolsters butting up against each other, with their inner sides merging together in the inner corner.

As there will be an angled volute assembly created as part of the Composite capital, I am not going to go into any details here, just give an outline of what steps could be taken for this and what I find needs to be taken into account.

For the example below the corner volute assembly simply consists of a pair of volute fillets flanking a pair of bolster fillets butting up against each other.

The basic steps to create a corner capitalwould be:

Hide all components except capital
Copy Capital component, hide original, Paste-in-Place, explode component
Hide ovolo, abacus cymatium
Set diagonal guides at top of abacus
Erase back channel
Select rear left quarter capital, rotate 90 degrees clockwise
Select front left quarter capitals, rotate/copy 90 degrees clockwise
Explode front left corner quarter capital, then explode the bolster assembly, and delete the bolster and belt half components (this leaves the bolster fillet and volute assembly, which will form half the corner element)
Move/copy the bolster fillet and volute assembly 3 min backwards on the Green Axis, then Flip the moved/copied components in the Green Direction (so the pair of volutes are facing away from each other)
Combine the two volute assemblies and bolster fillets into a new component (maybe Volute.corner-assembly)
Move the new assembly 3 min forward on the Green Axis (so it’s midpoint is even with the front of the abacus core), then rotate it 45 degrees, pivoted on the corner of the abacus core, and move it outwards on the diagaonal 1 1/2 min (to clear the ovolo)
Add geometry to connect the volute channels to the capital channels with a curved channel, and fill in the empty space at the back of the top of the angled assembly
Cleanup the angled volutes on the inner corner, both where they abut into each other at the bottom, and where the channel needs to be filled in at the top
Combine all the elements into a Column.Capital.corner component

FURTHER DETAILS NOT TESTED OUT

Open front right quarter component, copy 3 volute components plus bolster fillet into memory, close component, while still selected immediately move copied components leftwards on red axis clear of capital
Right-click, Flip Along - Red Direction
Move/copy rearwards 5 min (to give 2 min fillet between)
Right-click copy, Flip Along - Green Direction

Draw short line, starting from rear bolster fillet front top corner, going down along edge 3/4 min, then outwards on green axis 2 min (so it reaches other bolster fillet), then up 3/4 min, then back to connect with original start (to create face for cavetto and to use with Follow-Me tool)
Now then draw arc connecting across the top of hte face, with bulge going downward, to create cavetto connecting both volutes (I made mine shallow, only 1/4 min deep), then erase line across top
Open rear bolster fillet, select edge of outer face, copy into memory, close component, Paste-in-Place, and (with curved edge still selected, run Follow-Me on cavetto face (this creates separator between corner fillets)
Triple-click geometry, make component, Volute.Corner.Cavetto
Combine both volute sets plus bolster fillets plus corner cavetto into group (Component ? Volute.Assembly.Corner?)
move back rightwards so front volute is in correct position adjoining channel, then move forwards 4 min on green axis
Now rotate 45 degrees counter-clockwise, using corner of abacus core as center, then move 1 min outward diagonally from center of column (to clear ovolo)
Opened frontward volute fillet, copied top face, closed component, pasted in place, push-pull to go into channel, triple click, intersect faces with model, resulting length of front is 5 min, so set guide leftwards of intersection of that connecting edge, then drew short line right of that guide (to serve for tangency) and drew arc from that point back to edge of volute fillet, hid capital channel, erased copied volute geometry, leaving arc, unhid channel profile, copied, hid again, pasted (NOT in place) and attached to voltue geometry, then rotated and put in place over front volute top, Right click, make unique, open, [trim off back 3/4 (moved back edqe forwards)][cut back 3/4 down so matches volute channel and bolster fillet profile combined), close
Draw line from end of arc out rightwards to edge of volute, cut arc & line into memory, open component, paste-in-place, use Follow-Me on face, rename component Column.Capital.Channel.Corner
Open component, double click vertical face next to volute fillet, rotate from corner on outer fillet face so inner corner meets inner corner of volute fillet, close component
Unhide abacus core, move/copy channel corner out some distance leftwards on red axis, flip along components red, move into place so connects corner volute with rear volute (due to way this was constructed flip along components red essentially rotates it 90 degrees at the same time as it flips the curved end)

hide abacus core

Open front corner channel, select curved top rear edge and use weld to make into single arc, copy that arc into memory, close & hide, paste-in-place, open other corner channel, copy same arc into memory, close and hide, paste-in-Place, move/copy both arcs downwards 3/4 min, draw over volute fillets & corner cavetto

Hide abacus core
Unhide channel profile, copied, hid again, Paste-in-Place, move back and attach to rear volute, right-click, make unique, open, move rear (or leftwards) edge forwards or rightward 3/4 min, push/pull face forward 2 1/4 min, set diagonal guides across top, select all, rotate/copy 90 degrees, select all, intersect faces with selection; on inner corner hide lines separating fascia from curve, and outer edges (to blend with channel);
Fix inner volutes, which overlap at bottom, by making volute assemblies unique and then trimming th excess

The Ionic Angular or Modern Capital

The Antique Capital explained here is the one used by Serlio, Palladio, Vignola, and many others, and is the one Chambers shows in the main body of his chapter on the Ionic Order. However, there is another Capital that was frequently used after the late 16^th century, and that was the ‘Angular’ (or ‘Modern’ or ‘Scamozzi’) Ionic Capital, which did away with the Bolsters and angled the Volutes out at each of the four corners. This was popularized by Vincenzo Scamozzi, and is shown by two examples in Chambers’ Treatise, one based on Scamozzi, and another one of a very beautiful one, executed in St. Peter’s of the Vatican, probably composed by Michelangelo. As the Composite Order uses the same arrangement of Volutes, I am going to forgo any instructions for creating this form of Capital here, and will provide the steps under that Order. If you wish to use the Angled Capital, you should be able to easily alter the steps there as needed.

The Alternative Angular Ionic Capital The Angular Ionic Capital is also known as the ‘Modern’ (Modern as in 17th Century ce as opposed to 1st Century ce) or Scamozzi Capital, as it moves the Ionic Volutes from the front and back to each corner so the view is the same from all four sides of the Column, and was introduced by Vincenzo Scamozzi in the early 17th Century. In his Treatise, Chambers provides two designs for Modern Capitals, one (titled ‘Plan and Elevation of the Capitals in the Roman College’) he says are “executed in St Peter’s of the Vatican, probably composed by Michael Angelo. Similar capitals may also be seen in the church of the Roman College, and in various other buildings at Rome”. The other design he claims “is a design of Scamozzi’s Capital” (referred to in the Plate as ‘Plan & Elevation of the Angular Capital’), and it is this design which will be illustrated here. Note: The following steps are based on Chambers’ design, not that presented in Scamozzi’s own Treatise, as no matter how much I try to understand it, the plates of Scamozzi’s treatise continue to baffle me, his combination of minutes and parts not making any sense to me. I have taken some references from Scamozzi (such as the form of the Volute Hollow and leaf over the Volutes), but bear in mind that what follows is my interpretation of Chambers’ version of this type of Capital, not Scamozzi’s original. The dimensions for the Capital illustrated by Chambers closely match the Antique profile, so his Angular Capital can be substituted for the Antique by simply replacing the Capital itself and reusing the Column Shaft and rest of the Order. The remaining differences will be highlighted in the text below. The Volute used for the Modern Capital is the same as used for the Antique, except that the curve is continued into the top of the Abacus, so the instructions for creating that are the same (though with an additional element added afterwards, which will be explained below). The Modern Capital Profiles As stated earlier, the dimensions Chambers provides are the same as he uses for the Antique Capital, especially as regards the Ovolo and Abacus Cymatium and the Channel between them. As a result you can use the existing Column Shaft & Profile from above to rest this Capital on, and also reuse the existing Capital Ovolo, which has the same dimensions. Note: The Abacus is shaped differently, but the Cymatium Profile is the same, so that can be reused as well. The Abacus Plan 1. With the existing Column Shaft & Capital Ovolo Profiles visible, set a Guide 21 min up from the top of the Shaft (for the height of the Capital) 2. Set a Guide 25 min to the right of the Centerline of the Column for the Upper Diameter (and another on the Centerline itself to facilitate snapping to it, as stated before) 3. Set Guides 2 1/4 and 3 3/3 min coming down from the Guide marking the top of the Capital (for the heights of the Fillet & Cyma Reversa of the Abacus) 4. Set another horizontal Guide approximately 30 min up from the top of the Capital, followed by another 25 min above that (these are for the Plan of the Abacus, the first just providing some distance between the Plan and the Capital, the second equaling the Upper Diameter and thus providing the Midpoint for the Capital Plan) 5. Using the intersection of the Centerline and the Midpoint of the Capital as Center, use the Protractor Tool to set a pair of Guides 45 degrees to the right of the Blue Axis above and below the Center 6. Using the last Guide as the starting point, set a Guide 1 3/4 Modules (or 52 1/2 min) outwards towards the top right (this sets the projection of the Midpoint of the ‘Horns’ of the Angular Capital that extend out over the Volutes) 7. Draw a Line, from the intersection of the first diagonal Guide and the last Guide (in the upper right corner), downwards on the Blue Axis till it reaches the diagonal Guide, then continue it left on the Red Axis till it reaches the next diagonal Guide, then back up on the Blue Axis to the next Guide, and finishing by returning to the right on the Red Axis to create a Plane (this will form the basis of the Abacus Plan) 8. Double-Click the Face just created and make it a Component (Ionic.Scamozzi.Capital.Abacus.plan) 9. Using the diagonal Guide going from bottom left to top right through the Center of the Plan, set a Guide 4 1/2 min to either side of it, then repeat for the diagonal Guide going from bottom right to top left through the Center of the Plan (this sets the width of the top of the Horn of the Abacus) 10. Set a diagonal Guide going from bottom left to top right 52 1/2 min away from the Center of the Plan (so that the two right corners of the Plan will have diagonal Guides at their ends) 11. The Abacus of the Scamozzi Capital is based on a square but with the four corners terminating in projecting Horns connected by concave curves which are set using equilateral triangles, which utilize the Guides that were just set, so Draw a pair of Circles, whose Centers are on the right of the square Plan of the Capital at the closest intersections of the diagonal Guides to the middle of the Plan, and whose Radii are the opposite intersection (so one Circle’s Center will the other Circle’s Radius) 12. Using the intersection of the two Circles on the right side as the Center, draw another Circle whose Radius is one of the two Centers for the previous Circles (where this curves between the two Centers will be the side of the Abacus) 13. Erase all the Circles except for the final Arc forming the right side, then Draw a pair of short Lines connecting the Endpoints of the Arc to the two corners of the square of the Abacus Plan 14. Rotate/Copy the two Lines and the Arc, centered about the Center of the Plan, 90 degrees to the right, and then repeat 3 times (so the geometry is now located no all four sides of the Capital Plan) 15. Copy all the Lines and Arcs just created and rotated above, Cut/Copy them into memory, Open the Abacus Plan Component, and Paste-in-Place, then Erase the Lines from the original Square Tip: This will erase the Face of the Square, but as noted before, just redraw one of the short Lines and the Face will be restored. 16. Select all of the diagonal Guides except for the two aligned along the two right corners, Cut/Copy them into Memory, open the Plan Component, and Paste-in-Place, Close the Component and Erase the two remaining diagonal Guides 17. Select the Plan Component, and using the Center of the Plan as the rotation point, Rotate the Component 90 degrees on the Green Axis Tip: Whenever I have to Rotate something with only one Plane as here, I find it easiest to create a small cube in space close to the Face to set the rotation angle, which I can then Erase afterward. 18. … move a copy of this down to use for the Cymatium The Abacus Cymatium 19. The Abacus Molding Profile is the same as that used for the Antique Capital, so Un-Hide it, Copy it into memory, Hide the original, Paste-in-Place, Make Unique, Rename (Column.Capital.Modern.Abacus.Cymatium) and Move it up on the Blue Axis so that the top of the Molding Profile is level with the Abacus Plan, and then move it to one of the corners so the outside edge of the Molding is on the Edge of the Plan (as the Plan represents the greatest projection of the Abacus) Note: The Molding Profile does not have to be rotated, as it will work while still aligned on the Red Axis. 20. Open the Plan Component, Double-Click the Face, then De-Select the Face itself (so you only have the Edges Selected), then Close the Component 21. Open the Cymatium Profile Component, use Weld to heal any separate Arcs if necessary, then Paste-in-Place and activate the Follow-Me Tool against the Molding Face The Volute 22. The Volute is another element that can be reused from the Antique Capital, so Un-Hide the Volute Eye, Fillet, & Hollow Components, Copy them into memory, Hide the Originals, and make them a Component (Column.Capital.Modern.Volute) Note: You can make them each unique Components separate from the originals, but nothing is going to be done to these in this Capital, so use your own preference. 23. Open the Plan Component, switch to Top View, and set a Guide 1/2 min to the bottom left of the diagonal guide running from top left to bottom right closest to the front of the Capital, then set another Guide 29 1/2 min to the bottom right of the diagonal Guide running from top right to bottom left through the Center of the Capital, then another diagonal Guide 8 2/3 min to the bottom right of the last, then Close the Component Note: Chambers’ drawing of the Plan of the Capital shows two views of the underside of the Capital, one of the underside of the Abacus and the other of the underside of (what I take to be) the angled Volute. This shows the Volute as being spread out slightly on the side closest to the Center of the Column (being 10 min wide instead of 9 min wide). The placement of the Guides above will facilitate this feature. 24. Move the new Volute Component upwards on the Blue Axis till the top of the Volute Fillet is even with the top of the Abacus Cymatium Note: The Volute is going to be moved down in a few steps, but I find it easier to do the following with it located at the top of the Abacus instead of the bottom. 25. Move the Volute so the top front corner of the Volute Fillet is at the first Guide to the bottom left of the Center of the Abacus, then Rotate it 45 degrees frontwards so it points towards the bottom right Horn of the Abacus (it is useful to tun on X-Ray View here to see the Volute under the Abacus) 26. With X-Ray View turned back on, Move the Volute Component (using the top bottom or front corner as the setting point) towards the bottom right along the diagonal Guide till it reaches the second diagonal Guide in that direction, which should then have the Volute , when looked at from Top View, situated between a Guide on it’s left and the corner of the Abacus on it’s right 27. Now Rotate the Volute, with the starting Center as the bottom or front right corner of the top of the Abacus, the first point as the intersection of the Guides where the top bottom or front corner of the Volute is sited, and the second point being the next Guide 1/2 min to the left or frontwards 28. Now Select the Volute again, and Move it down 6 min on the Blue Axis (so it’s top is even with the bottom of the Abacus Cymatium) 29. Note: I tried creating this following all the dimensions in Chambers drawings, but could not get the Volutes to work with the Ovolo in exactly the way shown in Chambers’ Treatise. Placing the Volutes where I believe they should be means the Volute encroaches into the Ovolo, even when I redrew the Ovolo using equilateral triangles to make the bulge less protruding; the Volute just seems way too wide. I tried rotating the face of the Volute 90 degrees to the left (when viewed from it’s front) so the end arc is in the Ovolo, but that loses the required height (which Chambers has at 26 2/3 min). If I splay it out towards the sides following the Abacus curve helps, but both Scamozzi and Chambers show the two gathered Volutes kept tightly together with only a minimal spread nearest the Center of the Column, not splayed out to match the Abacus curve (which is how James Gibbs shows his placed). The only way that I can get the Volutes to work is to move them out farther on the diagonal axis, so that is how I will proceed with the steps below. I apologize for not figuring out how Chambers got his to work, but I have tried as hard as I could and cannot place the Volute where it seems it should go.

The Greek Ionic Capital from the Erechtheum in Athens?

The Angular Ionic Capital from Pompeii?

The Ionic Capital of Michelangelo?

Alternative Methods of Forming the Ionic Bolster

Use the existing forms for the bolster and belt, up to:

Create the Bolster Sectional Profile for use with a Fascia

An alternative is to have the belt and bolster terminate against a fascia coming down from the abacus. If you were only going to have the belts and bolsters terminating against a fascia, with the belt either stopping or continuing straight up the side of the fascia, you could simply run a line from the top of the oval over to the projection of the abacus core, then adjust the steps below.

Follow the instructions under “Create the Bolster Sectional Profile” for forming the lower curve, then proceed here:

The Belt surrounding the Bolster

Option 3) A fascia coming down from the abacus core with a horizontal termination to the belt and bolster

Set a guide at the projection of the abacus core
Un-hide the Bolster.Belt.half-profile component, copy it into memory, close & hide the original, Paste-in-Place, right-click, Make Unique, so it is now Belt.half-profile#1
Open the Bolster.inner-sectional-profile, and draw a line, starting from the leftmost point of the oval, going upwards on the Blue Axis till it reaches the top of the ovolo
Then draw another line, this time starting from the topmost point of the oval, going inwards towards the Centerline on the Red Axis till it reaches the projection of the abacus core

Triple-click the geometry and use Weld to form one solid path, then close the component
Move the Belt.half-profile#1 downwards on the Blue Axis till it’s top is even with the top of the ovolo, then rotate it 90 degrees counter-clockwise frontwards (keeping it’s right corner aligned with the Ovolo profile and using it’s right short edge as the pivot), then rotate it another 90 degrees, this time clockwise towards the Centerline, with the straight top edge being the pivot, so that the bulge of the arc points towards the Centerline
Now move it over rightwards on the Red Axis till it’s rear right corner meets the endpoint of the vertical line forming the back of the Bolster.inner-sectional-profile
Copy the Bolster.inner-sectional-profile component into memory, hide the original, open the Belt.half-profile#1 component, Paste-in-Place, and explode the component
With the exploded geometry still selected, activate the Follow-Me tool, and click on the Belt.half-profile#1 face (this creates front half of the belt to go around the bolster)
Close the component, rename Column.Capital.Bolster.Belt.half, and hide it

The Top Bolster Profile

Optoin 3) Fascia

This profile will be where the surface of the bolster terminates against a vertical fasica coming down from the edge of the abacus core.

Now we move/copy the Bolster.Profile.S-Curve to the left endpoint of the top of the Bolster.Profile.Inner arc where it will meet the fascia coming down from the abacus
Next rotate component, using it’s intersection with the Bolster.Profile.inner as the rotation point, 90° counter-clockwise, so it will be up against the fascia
Right-click the copy, Make Unique, rename Bolster.Profile.under-abacus
Open the component, select the short line, and using the intersection of it and the curve, move the endpoint of the curve upwards on the Blue Axis to where it meets the endpoint of the Bolster.Profile.outer, then erase the short line, and close the component

The Alternative C-Scroll Bolster of the Antique Ionic Order

Note: If you want to follow Serlio or Palladio and give it a half-C-shape, using the Bezier tool would probably be a better technique than geometrically. I will use the geometric form described below as it guarantees a certain amount of similarity between the different profiles that I find hard to achieve using the Bezier tool

This form of the Ionic Bolster is based on that shown by Sebastiano Serlio and Andrea Palladio in their Treatises, being a simple curve from the Volute inwards towards the Belt.

Note: This is meant to replace the instructions ‘Create the Profile for the Bolster S-Curve’ in the chapter ‘The Ionic Order’. All the steps prior to those instructions must be completed in order for the below to make sense.

The below assumes a rectangular plane Component has been created, stretching between the Inner & Outer Profiles (showing the curves of the Belt & Bolster Fillet), and with a Line running through it directly connecting to the two curves

With all the guides made around the inner & outer profiles, draw short lines on green axis from inner profile going backwards, as tangent lines, then draw arcs out to outer profile, making tanget to short line, then delete short line

Open the Component, and draw a Line, from the Endpoint of the middle Line at the rear of the plane, frontwards on the Green Axis till it is even
Using the Circle tool (with the number of Sides doubled from the usual 24 to 48 sides), and viewing the Plane so you can see it clearly (temporarily Hiding the Inner & Outer Profile Arcs may help), draw a Circle with a Center on the left or front Endpoint of the dividing line and with a Radius set to the end of the second part of that divided line going backwards, then draw another Circle but in reverse (so the Center is where the formers’ Radius was and the Radius is where the formers’ Center was)
Now draw an Arc whose Center is the intersection of the two Circles created above, on the side farthest from a logical center-line running from the center of the Inner & Outer Profile curves, with the Radius being the Centers of the two Circles along the divided line in the middle of the Component (this arc will form the outer curve of the Bolster)
Cut/Copy the Arc forming the outer curve, Double-Click the Circles just created and Erase them, Open the Left Profile Component, Paste-in-Place, and Close the Component
Now we repeat the process above, but only using the one part of the divided line next to the Inner Profile, so draw a pair of Circles whose Centers are on the two Endpoints of this part, and then an Arc whose center is on the side closest to a logical center-line running from the center of the Inner & Outer Profile curves (the arc created between the two endpoints of the divided part will be the inner curve of the Bolster
Cut/Copy the Arc forming the inner curve, Double-Click the Circles just created and Erase them, then Open the Left Profile Component, and Paste-in-Place
Finally, Erase all the lines except for the two Arcs, use Weld to join the them together, and Close the Component

The Alternative Bolster terminating into a Fascia

The Ionic Modillion of Andrea Palladio

An alternative form of Entablature was used by Palladio, featuring simple scrolled brackets, and Chambers shows two designs for this type of Entablature in his Treatise (one from the Villa Capra and one from the Basilica at Vicenza). I am not going to go into forming the whole Entablature, but I have a fairly simple way of describing the form of the bracket, so will show that in the Appendix.

For information on the dimensions, proportions and use of the Ionic Modillion, see the Authority of your choice.

See ‘Create the Ionic Modillion’ in The Appendix.

There are basically two forms of the scrolled Modillion: one introduced by Palladio for his Ionic Order, formed of a simple block with a bottom curved in an S-form, and the more elaborate Corinthian Modillion, with sides formed similar to the Ionic Volute and with fronts and bottoms carved to varying degrees.

The method for making the Ionic Modillion seem very consistent, as I have found the same instructions in James Gibbs (Plate 12 of ‘Rules for Drawing the Several Parts of Architecture’), Batty Langley (Plate 36 of ‘The Builders Director’) & William Pain (Plate ‘The Ionick Order’).

Below I will present my own ‘SketchUp’ version, followed by the Geometric version, as illustrated by the three Authorities above. The reason I put my own first, is that not only is it easier, but no matter how hard I try, frequently the two arcs making up the rear curve of the Modillion do not meet up where they should. I am assuming this is some kind of error on my part, but I cannot figure out what it is, as even when I increase the number of sides and try both arcs and circles I still cannot consistently get the method to work.

Note: The following steps are written as part of the section ‘The Ionic Modillion Entablature Of Andrea Palladio’. If you are unsure of anything, please refer to that section for answers.

The SketchUp Way

With Guides marking the height and projection of the Modillion (and the rest of the Cornice Profile already created)
Draw a Line, from the intersection of the Modillion Band and bottom of the Modillion, out to the Guide marking the Projection of the Modillion, then Divide the Line into 6 parts and make it a Group
Set Guides at the end of the 1st, 4th & 5th parts (for the beginning of the rear curve, the Center of the front Arc, and the depth of the front bottom Fascia, which is also the Radius of the front Arc)
Draw an Arc, whose Center is the end of the 4th part and with a radius equal to 1 part, going outwards what will eventually be the front of the Modillion
From the top of the Arc draw a diagonal Line diagonally downwards & inwards to the end of the first part of the divided bottom line
Divide this Line into 2 parts, then Erase the top part
From the bottom Endpoint of the last Line, draw a Line across the last divided part till it reaches the Guide marking the Projection of the Modillion
Draw an Arc from the top Endpoint of the Arc down to the endpoint of the diagonal Line, and make it Tangent to the first Arc
Erase the remaining diagonal Line
Draw another Arc, from the Endpoint of the last Arc drawn, down to the Endpoint of the last Line drawn (at the bottom of the Modillion), making the Arc tangent to both the Line and the Arc

The Manual Way

With Guides marking the height and projection of the Modillion (and the rest of the Cornice Profile already created)
Draw a Line, from the intersection of the Modillion Band and bottom of the Modillion, out to the Guide marking the Projection of the Modillion, then Divide the Line into 6 parts
Select the 2nd, 3rd and 4th parts away from the Modillion Band, and Rotate/Copy them 90 degrees upwards and backwards so they are at right angles to the end of the 1st part
Select the 3rd and 4th parts away from the Modillion Band, and Rotate/Copy them 90 degrees downwards and forwards so they are at right angles to the end of the 4th part
Select All the divided lines just drawn and make them a Group (so they do not interact with the Geometry about to be created)
Draw a Circle, centered on the intersection of the bottom of the Modillion and the end of the 4th part, with its radius being the end of the 5th part, then make it a Group
Draw a Circle centered 1 1/2 parts down from the center of the previous circle, with its radius set to the top of the previous circle, then make it a Group
Draw a Circle centered 2 1/2 parts above the end of the first horizontal part, with its radius being the bottom of the Modillion

Note: This is the point where I have trouble with the manual method, as the above two arcs should meet each other and thus form an s-shaped arc. You can try and increase the number of sides for the Circles or Arcs you are using, or, simply draw a line between the two points where the Arcs or Circles are closest, so they meet.

Once the last circle is drawn, draw a Line from the bottom of the Circle inwards to the projection of the Modillion Band, and another short temporary Line starting where the two large Circles meet and going out a short ways, then Erase all of the last Arc not between the two Lines

Tip: If you drew a connecting line to ensure the two Circles meet in the prior step, you don’t need to draw another line at the junction of the two Circles. The goal here is just to erase that part of the last large Circle that is no longer needed.

Open the Group containing the remaining large circle, and draw a pair of temporary Lines from the circle’s intersection with the top of the small circle and the endpoint of the Arc from the other large circle, then Erase the part of the Circle outside that section along with the temporary Lines, and Close the Group
Open the Group containing the small Circle, and draw a pair of Lines from the Center upwards and towards the right to create a quarter-circle, then Erase all but that Arc, and Close the Group
Explode the two Groups, and use the Weld Extension to join the arcs and the line extending from the lowest arc into one curve

Finishing Steps

Erase (or Hide) the Group comprising the divided line, and draw a Line from the Endpoint of the bottom left line next to the Modillion Band, up to the top of the Modillion, then out to it’s projection, then down to it’s bottom, and finally back inwards to meet the bottom Endpoint of the first Arc drawn
Double-Click the Face just Created and Make it a Component

At this point all that remains is to use Push/Pull on the Profile, and wrap the Modillion Cymatium around the front and sides (but I will explain that further under ‘The Ionic Modillion Entablature Of Andrea Palladio’.

Corinthian Alternative Elements

The Tower of the Winds Corinthian Capital

Two examples I would mention would be the examples from the Tower of the Winds and the Choragic Monument of Lysicrates, both at Athens. The former of these is rather unique, and was taken up again in the late 18th Century by Robert & James Adam (among others), and features a Corinthian style bell-shape with a single row of Acanthus leaves at the bottom, and plain Water Leaves surrounding the upper part of the bell under a square Abacus. The latter version is a more extravagant version, with [finish description]

Alternative Order Elements

Tuscan Alternative Elements

Doric Alternative Elements

Doric Alternative Cornices

Alternative Form of the Doric Triglyph

Ionic Alternative Elements

Alternative Methods of Forming the Ionic Volute

The Volute of Sebastiano Serlio

Create the Eye & Set the Centerpoints

Create The Outer Arcs

Create the Centerpoints for the Inner Arcs

Create the Inner Arcs

Create the Volute Fillet

The Volute of Giuseppe Salviati

The Eye of the Volute

Create the Outer Arcs

The Inner Arcs of James Gibbs

The Volute Fillet of James Gibbs

The Inner Arcs of Vignola via Pierre Esquie

The Volute Fillet of Vignola via Pierre Esquie

The Volute of Philibert Philandrier

Draw the Eye & Construction for the Volute

Set the Lengths of the Quarter Angles of the Volute

Create the Outer Arcs

Draw the Construction for the Fillet

Draw the Curve of the Fillet of the Volute

The Volute Fillet

The Volute According to The CurveMaker & TaperMaker SketchUp Extensions

Create the Volute

Create the Fillet

The Ionic Antique Corner Capital

The Ionic Angular or Modern Capital

The Greek Ionic Capital from the Erechtheum in Athens?

The Angular Ionic Capital from Pompeii?

The Ionic Capital of Michelangelo?

Alternative Methods of Forming the Ionic Bolster

Create the Bolster Sectional Profile for use with a Fascia

The Belt surrounding the Bolster

The Top Bolster Profile

The Alternative C-Scroll Bolster of the Antique Ionic Order

The Alternative Bolster terminating into a Fascia

The Ionic Modillion of Andrea Palladio

The SketchUp Way

The Manual Way

Finishing Steps

Corinthian Alternative Elements

The Tower of the Winds Corinthian Capital

Composite Alternative Elements

The Alternative Composite Capitals of Serlio

The Composite Entablature of Palladio

Miscellaneous Alternative Elements

The Pulvinate Frieze of Palladio

The Plinth of Palladio

Simplified Draft Orders?

The Greek Key Dentil Band?