The General Proportions of the Composite Order, in Chippendale Drawings, Vol. I 1753

Editor: We're looking at "The General Proportions of the Composite Order," a drawing by Thomas Chippendale from 1753. The Met identifies the materials as graphite, pen, pencil and coloured pencil. I find it fascinating how he manages to convey so much three-dimensionality on what is essentially a flat surface. What do you notice in terms of its visual organization? Curator: Immediately apparent is the artist’s employment of line to delineate form. The drawing is composed of precise, deliberate lines which are evocative of volume and depth; do you agree that the careful hatching indicates the fall of light? Consider the overall structure - we see an analytical breakdown and the finished product of this column presented simultaneously. How does this interplay of deconstruction and wholeness affect your perception of the artwork? Editor: It does give a great sense of clarity to his goal! What does this order entail or tell us, visually? Curator: The Composite order, being a synthesis of Ionic volutes and Corinthian acanthus leaves, is not simply decorative. Look closely; these aren’t arbitrary flourishes. Semiotically, what message might this combination convey? Could it be interpreted as a visual metaphor for synthesis, for combining distinct elements into a unified whole? Editor: I never thought of it that way, but I see the argument. I had just assumed it was pretty and elaborate, but you're right. This level of deliberate combination goes further than decoration. Thank you for pointing that out! Curator: Indeed, reflecting on the structural layout and subtle shading of forms does prompt contemplation of its visual and theoretical qualities. It goes beyond just surface ornamentation, doesn’t it?