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By Liane Lefaivre

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However, what is clear is how Vitruvius applies taxis in practice. Tripartition, for example, underlies Vitruvius's classification of temples (bk. III, ch. II). " The second is the prostyle. Both are distinguished by having a front part (pronaos) attached to their main unarticulated, uniformal volume, the naos or cella. This front part consists of pilasters (a kind of column engaged to the wall) or of columns standing in a free row, forming what is called a portico, a porch. The third kind of temple in the Vitruvian classification is the "amphiprostyle," which has columns in both (amphi-) front and back parts, in other words a portico at each end.

Ribart de Chamoust devoted a whole book to I'Ordre {rant;ais trouve dans La GENERA 39 (1537), after having increased the Vitruvian canon of the four genera- Doric, Ionic, Corinthian, and Tuscan-to five with the addition of the Composite order (see figure 19), also updated the Vitruvian notion of decor, by relating each of the antique pagan genera to the divine personae of Christianity. He maintained that, as the ancients had reserved the Doric for temples to Jupiter, Mars, and Hercules, so architects of his own times should dedicate Doric churches to Christ the Redemptor; Saint Paul or Saint George, who possessed the same kind of virility; and their ancient predecessors (Serlio 1619, ch.

But by seeing genera merely as representations of "support and load," Schopenhauer could explain them only up to a point, dismissing their more essential formal aspects as superfluous, as the result of "playing with the means of art without understanding the ends" (p. 4II). The genera have also been seen as a ranking system. The Tuscan is one/xtreme of a hierarchy and the Composite, the other, with Doric, Ionic, and Corinthian as in-between points. This ranking has assumed many meanings throughout history, as it is related to history, religion, anthropomorphism, society, and statics.

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