Composite order
The year 82 AD marks the completion of the Arch of Titus in Rome, a structure often cited as the first prominent surviving example of the Composite order. Yet historical evidence suggests this architectural form was invented slightly before the reign of Augustus and well-developed before his death. This timing coincides with the establishment of the Roman version of the Corinthian order itself. Ancient Greek architecture contains no trace of this mixed style, which remained unrecognized as a separate entity until centuries later. Renaissance writers would eventually add it to the classical canon to create five orders instead of three. The order existed primarily as an imperial Roman form of the Corinthian order during its early development.
A typical column of the Composite order stands ten diameters high, though architects adjusted these proportions for specific buildings throughout history. The capital combines the volutes of the Ionic order with the acanthus leaves found on the Corinthian order. Many versions feature larger volutes that are generally treated as four different thinner units projecting at some 45 degrees to the façade. A central ornament often sits between the volutes to complete the visual composition. Unlike the Greek Ionic volute which shows unchanged width from side to back, the Composite design removes the necessity for different appearances between front and side views. The column remains essentially treated as Corinthian except for the capital itself.
Leon Battista Alberti mentioned the Composite order in his work De re aedificatoria, calling it Italic rather than giving it a distinct rank. Sebastiano Serlio published I Sette libri dell'architettura in 1537, becoming the second writer to mention the Composite order as its own entity. This publication elevated the style from being merely an evolution of the Corinthian order to a recognized classical category. Renaissance architects like Alberti and Serlio were instrumental in transforming how this Roman invention was understood by later generations. The Tuscan order also appeared during this period as a simplified version of the Doric order but remained excluded by Vitruvius.
The treatment of details on these capitals has often been very variable throughout architectural history. Designers included figures, heraldic symbols, and other elements within the capital structure itself. Some capitals are distinctly divided into different horizontal zones while others treat the whole capital as a single zone. The relationship of the volutes to the leaves has been handled in many different ways by successive architects. Due to its delicate appearance, the Renaissance deemed the order suitable for churches dedicated to The Virgin Mary or other female saints. General usage since that time suggests richness and grandeur through its application.
Francesco Borromini developed the Composite order further in San Carlo alle Quattro Fontane in Rome starting in 1638. The interior of this church contains 16 Composite columns featuring inverted volutes placed underneath the arches. This choice faced high criticism at the time with critics believing it showed a lack of knowledge regarding the Vitruvian orders. Borromini took his radical modifications even further in the Oratorio dei Filippini lower order where he removed the acanthus leaves entirely. Critics argued that leaving a bare capital was an error in judgment rather than a deliberate stylistic statement. These innovations challenged the standard rules established over centuries of classical practice.
Donato Bramante used the Composite order in the second order of the cloister of Santa Maria della Pace in Rome between 1444 and 1514. Andrea Palladio applied the style to Palazzo Valmarana in Vicenza in 1565 and Palazzo del Capitaniato in 1571, 1572. Filippo Brunelleschi employed the Ionic order for the first order of Ospedale degli Innocenti in Florence in 1421 while using Composite elsewhere. William Chambers designed Somerset House in London in 1776 incorporating these classical elements into its façade. Modern structures like the Alabama Governor's Mansion from 1907 continue to utilize this mixed architectural tradition across Europe and America.
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Common questions
When was the Arch of Titus completed and why is it significant to the Composite order?
The year 82 AD marks the completion of the Arch of Titus in Rome, which serves as the first prominent surviving example of the Composite order. Historical evidence suggests this architectural form was invented slightly before the reign of Augustus and well-developed before his death.
What are the defining visual characteristics of a Composite order column capital?
A typical column of the Composite order stands ten diameters high and combines the volutes of the Ionic order with the acanthus leaves found on the Corinthian order. The design removes the necessity for different appearances between front and side views unlike the Greek Ionic volute which shows unchanged width from side to back.
Who were the Renaissance writers that established the Composite order as a distinct classical category?
Leon Battista Alberti mentioned the Composite order in his work De re aedificatoria calling it Italic rather than giving it a distinct rank. Sebastiano Serlio published I Sette libri dell'architettura in 1537 becoming the second writer to mention the Composite order as its own entity.
How did Francesco Borromini modify the Composite order in San Carlo alle Quattro Fontane starting in 1638?
Francesco Borromini developed the Composite order further in San Carlo alle Quattro Fontane in Rome starting in 1638 by placing inverted volutes underneath the arches. He took his radical modifications even further in the Oratorio dei Filippini lower order where he removed the acanthus leaves entirely.
Which modern structures utilize the Composite order tradition across Europe and America?
Modern structures like the Alabama Governor's Mansion from 1907 continue to utilize this mixed architectural tradition across Europe and America. William Chambers designed Somerset House in London in 1776 incorporating these classical elements into its façade.