Editing Tuscan order (section)

==Italian writers on architecture==
From the perspective of these writers, the Tuscan order was an older primitive Italic architectural form, predating the Greek [[Doric order|Doric]] and [[Ionic order|Ionic]], associated by Serlio with the practice of [[Rustication (architecture)|rustication]] and the architectural practice of [[Tuscany]].<ref>James S. Ackerman, "The Tuscan/Rustic Order: A Study in the Metaphorical Language of Architecture", ''Journal of the Society of Architectural Historians'' '''42'''.1 (March 1983:15-34).</ref> [[Giorgio Vasari]] made a valid argument for this claim by reference to [[Simone del Pollaiolo|Il Cronaca]]'s graduated rustication on the facade of [[Palazzo Strozzi]], Florence.<ref>"la bellezza di fuori, con ordine toscana".</ref> Like all [[architectural theory]] of the Renaissance, precedents for a Tuscan order were sought for in [[Vitruvius]], who does not include it among the three canonic orders, but peripherally, in his discussion of the [[Etruscan architecture|Etruscan]] temple (book iv, 7.2–3). Later Roman practice ignored the Tuscan order,<ref>Ackerman was unaware of any exception (Ackerman 1983:16), and [[Giacomo Barozzi da Vignola|Vignola]] reported that he had not found Tuscan ornaments among Roman remains ("non havendo<!--havendo in original--> io fra le antichità di Roma trovato ornamento toscano" [quoted in Ackerman 1983:17 note 11]); Ackerman identifies some plausibly Tuscan elements in several early 16th-century architectural drawings of unidentified Roman remains.</ref> and so did [[Leon Battista Alberti]] in ''[[De re aedificatoria]]'' (shortly before 1452).

Following Serlio's interpretation of Vitruvius (who gives no indication of the column's capital), in the Tuscan order the column had a simpler base—circular rather than squared as in the other orders, where Vitruvius was being followed—and with a simple torus and collar, and the column was unfluted, while both capital and entablature were without adornments. The [[Vitruvian module|modular proportion of the column]] was 1:7 in Vitruvius, and in Palladio's illustration for  [[Daniele Barbaro]]'s commentary on Vitruvius), in [[Giacomo Barozzi da Vignola|Vignola]]'s ''[[The Five Orders of Architecture|Cinque ordini d'architettura]]'' (1562), and in Palladio's ''[[I quattro libri dell'architettura]]'' (1570).<ref>Palladio, Book I. 13.15–21.</ref> Serlio alone gives a stockier proportion of 1:6.<ref>Ackerman 1983 offers a comparative table of components given by each theorist, figure 1 p. 16.</ref> A plain astragal or taenia ringed the column beneath its plain cap.

Palladio agreed in essence with Serlio: 
<blockquote>The Tuscan, being rough, is rarely used above ground except in one-storey buildings like villa barns or in huge structures like [[Amphitheatre]]s and the like which, having many orders, can take this one in place of the Doric, under the Ionic.<ref>''The Four Books on Architecture'', [https://books.google.com/books?id=BNBva2kKm0wC&pg=PA17 Chapter 12]</ref></blockquote>

Unlike the other authors Palladio found Roman precedents, of which he named the [[Verona Arena|arena of Verona]] and the [[Pula Arena]], both of which, [[James S. Ackerman|James Ackerman]] points out,<ref>Ackerman 1983:22.</ref> are [[arcuated]] buildings that did not present columns and entablatures. A striking feature is his rusticated frieze resting upon a perfectly plain entablature<ref>Ackerman 1983:21 and fig. 9 (of Palladio's woodcut).</ref>

Examples of the use of the order are the [[Palazzo Massimo alle Colonne]] in Rome, by Baldassarre Peruzzi, 1532–1536, and the [[pronaos]] portico to [[Santa Maria della Pace]] added by [[Pietro da Cortona]] (1656–1667).