Part of the art of urban planning or "frozen music", as architecture is often called, is an architectural warrant. The word came from the Latin expression "ordo", which means "order, order." It is an ordered, finished to perfection, based on strict calculations and rules, a rack-and-beam construction.
The emergence of the Tuscan order as an architectural form
From the time of the ancient Mediterranean civilizations to our days there are 5 architectural warrants. There were later attempts to create French and American warrants, but they failed to become equal with the classical five, whose representatives differ in size and proportions, artistic interpretation of the elements, the place of origin. Along with Hellas, there was Ancient Etruria (modern Tuscany). Hence the name - the warrant Tuscan, but sometimes it is also called Etruscan. It is believed that ancient Greece gave the world three architectural types - Doric, Ionic and Corinthian, and later there were two more - Tuscan, or simple, and complex, which appeared in ancient Rome. Other researchers, such as the ancient Roman architect and mechanic Vitruvius, argue that the Tuscan warrant is a more ancient, or archaic, form of a Doric type column. In any case, their similarity is evidenced by a certain similarity in the designs and layouts of the temples, both of which are stable. The very second name - "simple" - indicates that the Tuscan warrant stands out from all its unpretentiousness and reliability.
Proportions and order relationships
What is an order in general? This is an architectural design, which is a complex consisting of a pedestal, a column, supporting parts and an entablature - the part that is carried. For all five orders, this construction is characteristic, in each of which all parts are commensurate with each other. In addition, there is a division into full and incomplete orders, in which the total height of the architectural structure consists of 19 architectural breaks in the first case and five - in the second. They are distributed as follows:
- the pedestal gets 4 parts of the total length;
- the column gets 12 parts;
- entablature, respectively, three parts.
As for the incomplete version, in which there is no pedestal, the distribution goes as four and one part. Interesting and the components of the entablature, which includes three parts: architrave, frieze and cornice. The Tuscan order differs from its counterparts also in the fact that in its upper supporting structure there is no frieze, the middle recessed part.
Features of the construction
The apparent external simplicity of the full version is somewhat deceptive. This architectural form from the socle to the attic has 32 parts. Such specific concepts as enthasis or thinning, module, desk, are used to calculate the Tuscan order, the construction of which is substantiated in the work "On the architecture" of the above-mentioned Vitruvius. Both calculation and construction differ comparatively in simplicity, because all the quantities used for this are multiples of each other. Thus, the module is the radius of the base of the column, and its height is 7 (in the Tuscan order), each of which contains 24 desks. At 1/3 of the height, the cylindrical body of the column assumes a conical shape. This is called the entasis.
The importance of ancient orders in the architecture of subsequent times
All ancient Greek and Roman orders were widely used in ancient architecture. They were finishing the facades of temples and government buildings, with their help erected rotundas and open galleries. Actually, only on them can we judge about the architecture and decorative art of antiquity. Then, for a long time, interest in them was lost and again began to manifest itself in the 15th century, during the Renaissance. Baroque and classicism did not remain indifferent to these architectural forms. In a word, interest in them began to fade only towards the end of the XIX century. The Tuscan order in the architecture of the Russian empire occupied a prominent place. Many Orthodox churches were decorated with columns. A vivid representative of the Empire in Russia was Carlo Rossi. And on the street of his name in St. Petersburg, on the facades of other buildings in Moscow, Sevastopol (Grafskaya pier) there are architectural elements of the times of Ancient Greece and Rome. They, according to tradition, symbolize the greatness of the spirit and the military glory of the nation.