38:
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319:
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example, Vignola chose a "module" equal to a half-diameter which is the base of the system. All the other measurements are expressed in fractions or in multiples of this module. The result is an arithmetical model, and with its help each order, harmoniously proportioned, can easily be adapted to any given height, of a façade or an interior. From this point of view, Vignola's Regola is a remarkable intellectual achievement".
619:
What was added were rules for the use of the
Architectural Orders, and the exact proportions of them in minute detail. Commentary on the appropriateness of the orders for temples devoted to particular deities (Vitruvius I.2.5) were elaborated by Renaissance theorists, with Doric characterized as bold and manly, Ionic as matronly, and Corinthian as maidenly.
681:("Canon of the Five Orders of Architecture"). As David Watkin has pointed out, Vignola's book "was to have an astonishing publishing history of over 500 editions in 400 years in ten languages, Italian, Dutch, English, Flemish, French, German, Portuguese, Russian, Spanish, Swedish, during which it became perhaps the most influential book of all times".
466:. A superposed order is when successive stories of a building have different orders. The heaviest orders were at the bottom, whilst the lightest came at the top. This means that the Doric order was the order of the ground floor, the Ionic order was used for the middle story, while the Corinthian or the Composite order was used for the top story.
201:, which is a square or shaped block that in turn supports the entablature. The entablature consists of three horizontal layers, all of which are visually separated from each other using moldings or bands. In Roman and post-Renaissance work, the entablature may be carried from column to column in the form of an
676:
produced an architecture rule book that was not only more practical than the previous two treatises, but also was systematically and consistently adopting, for the first time, the term 'order' to define each of the five different species of columns inherited from antiquity. A first publication of the
618:
has been a collective endeavor that involved several generations of
European architects, from Renaissance and Baroque periods, basing their theories both on the study of Vitruvius' writings and the observation of Roman ruins (the Greek ruins became available only after Greek Independence, 1821–1823).
299:
Above the capital is a square abacus connecting the capital to the entablature. The entablature is divided into three horizontal registers, the lower part of which is either smooth or divided by horizontal lines. The upper half is distinctive for the Doric order. The frieze of the Doric entablature
230:
There are three distinct orders in
Ancient Greek architecture: Doric, Ionic, and Corinthian. These three were adopted by the Romans, who modified their capitals. The Roman adoption of the Greek orders took place in the 1st century BC. The three ancient Greek orders have since been consistently used
833:; he invented a "British order" and published an engraving of it. Its capital the heraldic lion and unicorn take the place of the Composite's volutes, a Byzantine or Romanesque conception, but expressed in terms of neoclassical realism. Adam's ink-and-wash rendering with red highlighting is at the
538:
The
Composite order is a mixed order, combining the volutes of the Ionic with the leaves of the Corinthian order. Until the Renaissance it was not ranked as a separate order. Instead it was considered as a late Roman form of the Corinthian order. The column of the Composite order is typically ten
507:
The Tuscan order has a very plain design, with a plain shaft, and a simple capital, base, and frieze. It is a simplified adaptation of the Greeks' Doric order. The Tuscan order is characterized by an unfluted shaft and a capital that consists of only an echinus and an abacus. In proportions it is
221:
The heights of columns are calculated in terms of a ratio between the diameter of the shaft at its base and the height of the column. A Doric column can be described as seven diameters high, an Ionic column as eight diameters high, and a
Corinthian column nine diameters high, although the actual
684:
The book consisted simply of an introduction followed by 32 annotated plates, highlighting the proportional system with all the minute details of the Five
Architectural Orders. According to Christof Thoenes, the main expert of Renaissance architectural treatises, "in accordance with Vitruvius's
192:
The capital rests on the shaft. It has a load-bearing function, which concentrates the weight of the entablature on the supportive column, but it primarily serves an aesthetic purpose. The necking is the continuation of the shaft, but is visually separated by one or many grooves. The
771:, in which sculptural details of classical architecture could be enlisted to speak symbolically, the better to express the purpose of the structure and enrich its visual meaning with specific appropriateness. This idea was taken up strongly in the training of
238:
Sometimes the Doric order is considered the earliest order, but there is no evidence to support this. Rather, the Doric and Ionic orders seem to have appeared at around the same time, the Ionic in eastern Greece and the Doric in the west and mainland.
222:
ratios used vary considerably in both ancient and revived examples, but still keeping to the trend of increasing slimness between the orders. Sometimes this is phrased as "lower diameters high", to establish which part of the shaft has been measured.
896:, designed a Delhi order having a capital displaying a band of vertical ridges, and with bells hanging at each corner as a replacement for volutes. His design for the new city's central palace, Viceroy's House, now the Presidential residence
375:, a curved tapering in the column shaft. A column of the Ionic order is nine times more tall than its lower diameter. The shaft itself is eight diameters high. The architrave of the entablature commonly consists of three stepped bands (
189:, beginning a third of the way up, imperceptibly makes the column slightly more slender at the top, although some Doric columns, especially early Greek ones, are visibly "flared", with straight profiles that narrow going up the shaft.
288:(tops) and no base. With a height that is only four to eight times its diameter, the columns are the most squat of all orders. The shaft of the Doric order is channeled with 20 flutes. The capital consists of a necking or
162:
An illustration of the Five
Architectural Orders engraved for the Encyclopédie, vol. 18, showing the Tuscan and Doric orders (top row); two versions of the Ionic order (center row); Corinthian and Composite orders (bottom
180:
which it supports, while the rest of the building does not in itself vary between the orders. The column shaft and base also varies with the order, and is sometimes articulated with vertical concave grooves known as
747:
Several orders, usually based upon the composite order and only varying in the design of the capitals, have been invented under the inspiration of specific occasions, but have not been used again. They are termed
315:. Later forms, however, came with the conventional base consisting of a plinth and a torus. The Roman versions of the Doric order have smaller proportions. As a result, they appear lighter than the Greek orders.
992:
flowers constrained within the profile of classical mouldings, as his drawing demonstrates. It was intended for "the Upper
Columns in the Gallery of the Entrance of the Chamber of the Senate".
965:
in
Washington, DC, designed a series of botanical American orders. Most famous is the Corinthian order substituting ears of corn and their husks for the acanthus leaves, which was executed by
551:
period saw renewed interest in the literary sources of the ancient cultures of Greece and Rome, and the fertile development of a new architecture based on classical principles. The treatise
508:
similar to the Doric order, but overall it is significantly plainer. The column is normally seven diameters high. Compared to the other orders, the Tuscan order looks the most solid.
254:, and that of other Near Eastern cultures, although there they were mostly used in interiors, rather than as a dominant feature of all or part of exteriors, in the Greek style.
652:
1593:
205:
that springs from the column that bears its weight, retaining its divisions and sculptural enrichment, if any. There are names for all the many parts of the orders.
723:
introduced an ironic use of the orders as a cultural reference, divorced from the strict rules of composition. On the other hand, a number of practitioners such as
60:
is a certain assemblage of parts subject to uniform established proportions, regulated by the office that each part has to perform. Coming down to the present from
250:, where it was the chief order for monumental architecture for 800 years. Early Greeks were no doubt aware of the use of stone columns with bases and capitals in
37:
904:
into a building of classical forms and proportions, and made use of the order throughout. The Delhi Order reappears in some later
Lutyens buildings including
408:
The Corinthian order is the most elaborated of the Greek orders, characterized by a slender fluted column having an ornate capital decorated with two rows of
571:
is not to be found. To describe the four species of columns (he only mentions: Tuscan, Doric, Ionic and Corinthian) he uses, in fact, various words such as:
1038:
An order in architecture is a certain assemblage of parts subject to uniform established proportions, regulated by the office that each part has to perform.
924:
450:
The Romans adapted all the Greek orders and also developed two orders of their own, basically modifications of Greek orders. However, it was not until the
246:
in Olympia is the oldest well-preserved temple of Doric architecture. It was built just after 600 BC. The Doric order later spread across Greece and into
966:
308:. A triglyph is a unit consisting of three vertical bands which are separated by grooves. Metopes are the plain or carved reliefs between two triglyphs.
379:). The frieze comes without the Doric triglyph and metope. The frieze sometimes comes with a continuous ornament such as carved figures instead.
147:. This treatment continued after the conscious and "correct" use of the orders, initially following exclusively Roman models, returned in the
1878:
606:
started circulating in Rome, at the beginning of the 16th century, probably during the studies of Vitruvius' text conducted and shared by
1626:
442:
1656:
976:
With peace restored, Latrobe designed an American order that substituted tobacco leaves for the acanthus, of which he sent a sketch to
434:
in Athens, constructed from 335 to 334 BC. The Corinthian order was raised to rank by the writings of Vitruvius in the 1st century BC.
364:. The Ionic shaft comes with four more flutes than the Doric counterpart (totalling 24). The Ionic base has two convex moldings called
155:, inspired by increasing knowledge of Greek originals, returned to more authentic models, including ones from relatively early periods.
834:
594:
in Paris presents columns of the three orders: Doric at the ground floor, Ionic at the second floor, Corinthian at the third floor.
1416:
76:, each distinguished by its proportions and characteristic profiles and details, and most readily recognizable by the type of
1603:
1582:
1559:
1540:
1521:
1377:
1216:
1178:
1151:
511:
715:
promoted pure functionalism, stripped of superfluous ornament, and that has become one of the defining characteristics of
1883:
1893:
1612:
1105:
The most recent English translation is the one, with an introduction and commentary by Branko Mitrovic, New York. 1999
1775:
1337:
1312:
1287:
1259:
1144:
The American Builder's Companion: Or, a System of Architecture Particularly Adapted to the Present Style of Building
1888:
1800:
1496:, Translated into English, with an introduction and commentary by Branko Mitrovic, Acanthus Press, New York, 1999
1451:
659:
591:
431:
1128:
563:, is the only architectural writing that survived from Antiquity. Effectively rediscovered in the 15th century,
100:, which was more ornamental than the Corinthian. The architectural order of a classical building is akin to the
1837:
1649:
1432:
323:
412:
and four scrolls. The shaft of the Corinthian order has 24 flutes. The column is commonly ten diameters high.
1082:
251:
696:, influenced many builders in the eastern states, particularly those who developed what became known as the
419:
311:
The Greek forms of the Doric order come without an individual base. They instead are placed directly on the
1765:
1503:, Translated by John Leeke (1669), with an introduction by David Watkin, Dover Publications, New York, 2011
1475:
345:
The Ionic order came from eastern Greece, where its origins are entwined with the similar but little known
17:
564:
1533:
Classical Architecture: An Introduction to Its Vocabulary and Essentials, With a Select Glossary of Terms
864:
708:
830:
1873:
1465:
988:
admired it enough to make a drawing of it. In 1809 Latrobe invented a second American order, employing
768:
673:
284:. It is the simplest of the orders, characterized by short, organized, heavy columns with plain, round
152:
132:
1642:
627:
232:
1620:
739:
in the United States, continue the classical tradition, and use the classical orders in their work.
1852:
1353:
946:
548:
474:
243:
1033:
197:
lies atop the necking. It is a circular block that bulges outwards towards the top to support the
1898:
985:
950:
893:
772:
728:
720:
139:
where the arch was often dominant, the orders became increasingly decorative elements except in
845:
826:
423:
357:(also called "scrolls") in the echinus of the capital. The echinus itself is decorated with an
289:
285:
182:
173:
73:
980:
in a letter, 5 November 1816. He was encouraged to send a model of it, which remains at
970:
962:
763:
477:. The Giant order is characterized by columns that extend the height of two or more stories.
305:
293:
198:
905:
795:
697:
494:
194:
8:
1810:
1382:
901:
838:
716:
409:
361:
292:, which is a simple ring. The echinus is convex, or circular cushion like stone, and the
158:
148:
1027:
462:, respectively the plainest and most ornate of the orders. The Romans also invented the
1571:
897:
607:
136:
1470:
969:
and used in the small domed vestibule of the Senate. Only this vestibule survived the
430:
of the 5th century BC. The oldest known building built according to this order is the
318:
143:
and similar uses. Columns shrank into half-columns emerging from walls or turned into
1790:
1634:
1599:
1578:
1555:
1536:
1517:
1428:
1421:
1333:
1308:
1283:
1255:
1212:
1174:
1147:
885:
875:
868:
803:
669:
128:
of music, and it raises certain expectations in an audience attuned to its language.
1842:
1739:
1693:
977:
958:
943:
644:
490:
463:
403:
382:
125:
89:
1387:
485:
92:—originated in Greece. To these the Romans added, in practice if not in name, the
1703:
1511:
1168:
799:
791:
732:
648:
554:
533:
459:
109:
97:
586:
1805:
1795:
1780:
1770:
1724:
1507:
1411:
849:
807:
693:
387:
327:
677:
various plates, as separate sheets, appeared in Rome in 1562, with the title:
1867:
1815:
736:
724:
65:
61:
1719:
1698:
1619:
1006:
1001:
879:
860:
811:
798:
contains pilasters with bronze capitals in the "French order". Designed by
632:
502:
455:
358:
346:
101:
93:
57:
31:
938:
242:
Both the Doric and the Ionic order appear to have originated in wood. The
213:
1734:
1729:
1688:
1683:
822:
640:
636:
567:
as the ultimate authority on architecture. However, in his text the word
470:
451:
340:
275:
177:
105:
85:
81:
1118:, translated by John Leeke, reprint of the 1699 edition, New York, 2011
1029:
An Encyclopædia of Architecture: Historical, Theoretical, and Practical
981:
754:
666:
Regole generali di architettura sopra le cinque maniere de gli edifici
257:
1760:
1170:
The American Vignola: a guide to the making of classical architecture
889:
560:
427:
416:
312:
262:
42:
622:
27:
Styles of classical architecture, recognizable by the type of column
1822:
1785:
1755:
989:
856:
516:
301:
144:
117:
46:
446:
Tuscan capital and entablature, illustration from the 18th century
1832:
712:
711:, then the development of modernism during the 19th century. The
611:
520:
372:
186:
140:
113:
829:
was in Rome in 1762, drawing antiquities under the direction of
185:. The shaft is wider at the bottom than at the top, because its
1827:
1669:
853:
354:
350:
281:
247:
77:
664:
Following the examples of Vitruvius and the five books of the
497:, completed in 1619, includes Tuscan through Composite orders.
135:, which made little use of the arch until its late period, in
761:
These nonce orders all express the "speaking architecture" (
631:
Illustrations of the Classical orders (from left to right):
1847:
767:) that was taught in the Paris courses, most explicitly by
391:
202:
852:, a variant of Ionic, substituting volutes in the form of
30:
This article is about architecture. For social order, see
1439:
Histoires d’ordres: le langage européen de l’architecture
1032:. London: Longman, Brown, Green, and Longmans. pp.
386:
Corinthian capital of a column from the interior of the
1549:
280:
The Doric order originated on the mainland and western
120:
of a written composition. It is established by certain
1664:
707:
The break from the classical mode came first with the
1305:
Sir Edwin Lutyens: Designing in the English tradition
692:, written in the early 19th century by the architect
802:, the capitals display the national emblems of the
700:. The last American re-interpretation of Vignola's
515:
Composite capital in the former Palace of Justice (
1570:
1530:
1254:. London, UK: George Allen and Unwin. p. 69.
614:, and Sangallo. Ever since, the definition of the
131:Whereas the orders were essentially structural in
1630:. Vol. 20 (11th ed.). pp. 176–183.
1197:. Paris: Albin Michel. p. 83. ISBN 9782226321428.
1195:Le Château de Versailles. Vu par ses photographes
1865:
1307:. London: National Trust Books. pp. 41–42.
1332:. London: George Allen and Unwin. p. 161.
1282:. London: George Allen and Unwin. p. 151.
1069:24Ă©me Colloque International d'Etude Humanistes
80:employed. The three orders of architecture—the
1568:
1273:
1271:
559:by Roman theoretician, architect and engineer
96:, which they made simpler than Doric, and the
1650:
1487:The Origins of the Greek Architectural Orders
704:, was edited in 1904 by William Robert Ware.
1573:Classical architecture: the poetics of order
900:, was a thorough integration of elements of
454:that these were named and formalized as the
1569:Tzonis, Alexander; Lefaivre, Liane (1986).
1437:Frédérique Lemerle et Yves Pauwels (dir.),
1268:
1207:Curl, James Stevens; Wilson, Susan (2016).
1173:. Courier Dover Publications. p. 160.
552:
1657:
1643:
1206:
1129:"Architectura – Les livres d'Architecture"
874:An adaptation of the Corinthian order by
679:Regola delli cinque ordini d'architettura
542:
422:the invention of the Corinthian order to
349:. It is distinguished by slender, fluted
41:Greek, "Etruscan" and Roman orders, with
1327:
1277:
1249:
1200:
1141:
1116:Canon of the Five Orders of Architecture
937:
626:
602:, as well as the idea of redefining the
585:
510:
484:
441:
381:
317:
256:
212:
157:
36:
1591:
1506:
1302:
1211:. Oxford University Press. p. 22.
623:Vignola defining the concept of "order"
14:
1866:
1617:
1595:The Elements of Classical Architecture
1552:The Classical Language of Architecture
1417:The Classical Language of Architecture
1354:"The 1814 burning of Washington, D.C."
892:as the new seat of government for the
1638:
1025:
371:The Ionic order is also marked by an
176:at the top of columns and horizontal
1879:Ancient Roman architectural elements
1513:The Classical Orders Of Architecture
1166:
489:The Tower of The Five Orders at the
397:
368:, which are separated by a scotia.
24:
1445:
1193:Fouin, Christophe, et al. (2016).
1114:David Watkin, Introduction to the
933:
882:is termed the Agricultural order.
527:
353:with a large base and two opposed
25:
1910:
1489:(Cambridge University Press) 2001
1330:Edwin Lutyens: Architect Laureate
1280:Edwin Lutyens: Architect Laureate
1252:Edwin Lutyens: Architect Laureate
1209:Oxford Dictionary of Architecture
1080:
817:
758:; several examples follow below.
1550:John Newenham Summerson (1963).
1516:. Elsevier/Architectural Press.
919:
690:The American Builder's Companion
1378:"United States Capitol exhibit"
1370:
1346:
1321:
1296:
1243:
1234:
1225:
1187:
1160:
785:
742:
660:The Five Orders of Architecture
592:St-Gervais-et-St-Protais Church
480:
437:
432:Choragic Monument of Lysicrates
225:
1618:Spiers, Richard Phené (1911).
1598:. W. W. Norton & Company.
1535:. W. W. Norton & Company.
1135:
1121:
1108:
1099:
1074:
1061:
1052:
1043:
1019:
334:
324:Queen Elizabeth II Great Court
269:
208:
13:
1:
1613:Classical orders and elements
1499:Barozzi da Vignola, Giacomo,
1492:Barozzi da Vignola, Giacomo,
1405:
776:
719:. There are some exceptions.
672:published from 1537 onwards,
565:Vitruvius came to be regarded
475:architects in the Renaissance
252:ancient Egyptian architecture
217:Greek orders with full height
1476:Resources in other libraries
878:that used turnip leaves and
806:: the royal sun between two
7:
1531:James Stevens Curl (2003).
1328:Gradidge, Roderick (1981).
1303:Wilhide, Elizabeth (2012).
1278:Gradidge, Roderick (1981).
1250:Gradidge, Roderick (1981).
995:
709:Gothic Revival architecture
296:is a square slab of stone.
172:Each style has distinctive
167:
10:
1915:
1884:Ancient Greek architecture
1067:H. Burns and H. Gunthers,
674:Giacomo Barozzi da Vignola
657:
579:(habit, fashion, manner),
531:
500:
401:
338:
273:
153:Greek Revival architecture
133:Ancient Greek architecture
29:
1894:Neoclassical architecture
1748:
1712:
1676:
1592:Gromort, Georges (2001).
1471:Resources in your library
1167:Ware, William R. (1994).
918:
913:
888:, who from 1912 laid out
233:Neoclassical architecture
1501:Canon of the Five Orders
1494:Canon of the Five Orders
1441:, Turhout, Brepols, 2021
1142:Benjamin, Asher (1827).
1012:
973:in 1814, nearly intact.
947:Prospect Park (Brooklyn)
1627:Encyclopædia Britannica
986:Alexander Jackson Davis
961:, the architect of the
927:– a Smarthistory video.
894:British Empire in India
773:Beaux-Arts architecture
322:Ionic capital from the
1889:Classical architecture
1485:Barletta, Barbara A.,
1146:. Dover Publications.
1026:Gwilt, Joseph (1842).
954:
655:
595:
553:
543:Historical development
524:
498:
447:
394:
331:
266:
218:
164:
74:classical architecture
49:
971:Burning of Washington
957:In the United States
941:
769:Étienne-Louis Boullée
764:architecture parlante
651:, made in 1728, from
630:
589:
514:
488:
445:
385:
321:
261:Doric capital of the
260:
216:
161:
40:
1058:Summerson, pp. 19–21
942:Corn capital at the
925:The Classical orders
906:Campion Hall, Oxford
796:Palace of Versailles
495:University of Oxford
70:architectural orders
1383:Library of Congress
1049:Summerson, pp. 7–15
902:Indian architecture
865:Shakespeare Gallery
839:Columbia University
717:modern architecture
149:Italian Renaissance
1677:Greco-Roman orders
1083:"Classical Orders"
955:
898:Rashtrapati Bhavan
656:
596:
525:
499:
448:
395:
332:
267:
219:
165:
137:Roman architecture
72:are the styles of
68:civilization, the
50:
1874:Orders of columns
1861:
1860:
1791:Intercolumniation
1605:978-0-393-73051-7
1584:978-0-262-70031-3
1577:. The MIT Press.
1561:978-0-262-69012-6
1554:. The MIT Press.
1542:978-0-393-73119-4
1523:978-0-7506-6124-9
1452:Library resources
1422:Thames and Hudson
1231:Curl, p. 238
1218:978-0-19-967499-2
1180:978-0-486-28310-4
1153:978-0-486-22236-3
1087:sites.scran.ac.uk
967:Giuseppe Franzoni
931:
930:
886:Sir Edwin Lutyens
876:William Donthorne
869:Pall Mall, London
804:Kingdom of France
670:Sebastiano Serlio
415:The Roman writer
16:(Redirected from
1906:
1843:Solomonic column
1749:Related articles
1666:Classical orders
1659:
1652:
1645:
1636:
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1609:
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1527:
1420:, 1980 edition,
1399:
1398:
1396:
1395:
1386:. Archived from
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1367:
1365:
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1359:. 31 August 2014
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1325:
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1240:Curl, p. 11
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978:Thomas Jefferson
963:Capitol building
959:Benjamin Latrobe
944:Litchfield Villa
923:
922:
911:
910:
781:
780: 1875–1915
778:
752:" by analogy to
727:in England, and
558:
539:diameters high.
491:Bodleian Library
473:was invented by
464:Superposed order
404:Corinthian order
398:Corinthian order
300:is divided into
21:
1914:
1913:
1909:
1908:
1907:
1905:
1904:
1903:
1864:
1863:
1862:
1857:
1776:Egyptian column
1744:
1708:
1672:
1663:
1606:
1585:
1562:
1543:
1524:
1508:Chitham, Robert
1482:
1481:
1480:
1460:
1459:
1457:Classical order
1455:
1448:
1446:Further reading
1412:Summerson, John
1408:
1403:
1402:
1393:
1391:
1376:
1375:
1371:
1362:
1360:
1357:www.cbsnews.com
1352:
1351:
1347:
1340:
1326:
1322:
1315:
1301:
1297:
1290:
1276:
1269:
1262:
1248:
1244:
1239:
1235:
1230:
1226:
1219:
1205:
1201:
1192:
1188:
1181:
1165:
1161:
1154:
1140:
1136:
1127:
1126:
1122:
1113:
1109:
1104:
1100:
1091:
1089:
1081:Small, Julian.
1079:
1075:
1066:
1062:
1057:
1053:
1048:
1044:
1024:
1020:
1015:
998:
984:. In the 1830s
936:
934:American orders
920:
914:External videos
820:
808:Gallic roosters
800:Charles Le Brun
792:Hall of Mirrors
788:
779:
745:
733:Richard Sammons
662:
625:
555:De architectura
545:
536:
534:Composite order
530:
528:Composite order
505:
483:
440:
410:acanthus leaves
406:
400:
343:
337:
278:
272:
228:
211:
170:
110:classical music
35:
28:
23:
22:
15:
12:
11:
5:
1912:
1902:
1901:
1899:Design history
1896:
1891:
1886:
1881:
1876:
1859:
1858:
1856:
1855:
1850:
1845:
1840:
1835:
1830:
1825:
1820:
1819:
1818:
1808:
1806:Persian column
1803:
1798:
1796:Knotted column
1793:
1788:
1783:
1781:Engaged column
1778:
1773:
1771:Coupled column
1768:
1763:
1758:
1752:
1750:
1746:
1745:
1743:
1742:
1737:
1732:
1727:
1722:
1716:
1714:
1710:
1709:
1707:
1706:
1701:
1696:
1691:
1686:
1680:
1678:
1674:
1673:
1662:
1661:
1654:
1647:
1639:
1633:
1632:
1615:
1610:
1604:
1589:
1583:
1566:
1560:
1547:
1541:
1528:
1522:
1504:
1497:
1490:
1479:
1478:
1473:
1468:
1462:
1461:
1450:
1449:
1447:
1444:
1443:
1442:
1435:
1407:
1404:
1401:
1400:
1369:
1345:
1338:
1320:
1313:
1295:
1288:
1267:
1260:
1242:
1233:
1224:
1217:
1199:
1186:
1179:
1159:
1152:
1134:
1120:
1107:
1098:
1073:
1060:
1051:
1042:
1017:
1016:
1014:
1011:
1010:
1009:
1004:
997:
994:
935:
932:
929:
928:
916:
915:
850:Ammonite order
819:
818:British orders
816:
787:
784:
744:
741:
694:Asher Benjamin
658:Main article:
624:
621:
544:
541:
532:Main article:
529:
526:
501:Main article:
482:
479:
439:
436:
402:Main article:
399:
396:
339:Main article:
336:
333:
328:British Museum
274:Main article:
271:
268:
244:Temple of Hera
227:
224:
210:
207:
169:
166:
26:
9:
6:
4:
3:
2:
1911:
1900:
1897:
1895:
1892:
1890:
1887:
1885:
1882:
1880:
1877:
1875:
1872:
1871:
1869:
1854:
1851:
1849:
1846:
1844:
1841:
1839:
1836:
1834:
1831:
1829:
1826:
1824:
1821:
1817:
1816:Compound pier
1814:
1813:
1812:
1809:
1807:
1804:
1802:
1801:Marian column
1799:
1797:
1794:
1792:
1789:
1787:
1784:
1782:
1779:
1777:
1774:
1772:
1769:
1767:
1766:Concatenation
1764:
1762:
1759:
1757:
1754:
1753:
1751:
1747:
1741:
1738:
1736:
1733:
1731:
1728:
1726:
1723:
1721:
1718:
1717:
1715:
1711:
1705:
1702:
1700:
1697:
1695:
1692:
1690:
1687:
1685:
1682:
1681:
1679:
1675:
1671:
1667:
1660:
1655:
1653:
1648:
1646:
1641:
1640:
1637:
1629:
1628:
1622:
1621:"Order"
1616:
1614:
1611:
1607:
1601:
1597:
1596:
1590:
1586:
1580:
1575:
1574:
1567:
1563:
1557:
1553:
1548:
1544:
1538:
1534:
1529:
1525:
1519:
1515:
1514:
1509:
1505:
1502:
1498:
1495:
1491:
1488:
1484:
1483:
1477:
1474:
1472:
1469:
1467:
1464:
1463:
1458:
1453:
1440:
1436:
1434:
1430:
1426:
1423:
1419:
1418:
1413:
1410:
1409:
1390:on 2017-07-15
1389:
1385:
1384:
1379:
1373:
1358:
1355:
1349:
1341:
1339:0-04-720023-5
1335:
1331:
1324:
1316:
1314:9781907892271
1310:
1306:
1299:
1291:
1289:0-04-720023-5
1285:
1281:
1274:
1272:
1263:
1261:0-04-720023-5
1257:
1253:
1246:
1237:
1228:
1220:
1214:
1210:
1203:
1196:
1190:
1182:
1176:
1172:
1171:
1163:
1155:
1149:
1145:
1138:
1130:
1124:
1117:
1111:
1102:
1088:
1084:
1077:
1070:
1064:
1055:
1046:
1039:
1035:
1031:
1030:
1022:
1018:
1008:
1005:
1003:
1000:
999:
993:
991:
987:
983:
979:
974:
972:
968:
964:
960:
952:
948:
945:
940:
926:
917:
912:
909:
907:
903:
899:
895:
891:
887:
883:
881:
877:
872:
870:
866:
862:
858:
855:
851:
847:
842:
840:
836:
835:Avery Library
832:
828:
824:
815:
813:
809:
805:
801:
797:
793:
783:
774:
770:
766:
765:
759:
757:
756:
751:
740:
738:
737:Duncan Stroik
734:
730:
729:Michael Dwyer
726:
725:Quinlan Terry
722:
721:Postmodernism
718:
714:
710:
705:
703:
699:
698:Federal style
695:
691:
686:
682:
680:
675:
671:
667:
661:
654:
650:
646:
642:
638:
634:
629:
620:
617:
613:
609:
605:
601:
593:
588:
584:
582:
578:
574:
570:
566:
562:
557:
556:
550:
540:
535:
522:
518:
513:
509:
504:
496:
492:
487:
478:
476:
472:
467:
465:
461:
457:
453:
444:
435:
433:
429:
425:
421:
418:
413:
411:
405:
393:
389:
384:
380:
378:
374:
369:
367:
363:
360:
356:
352:
348:
342:
329:
325:
320:
316:
314:
309:
307:
303:
297:
295:
291:
287:
283:
277:
264:
259:
255:
253:
249:
245:
240:
236:
234:
223:
215:
206:
204:
200:
196:
190:
188:
184:
179:
175:
160:
156:
154:
150:
146:
142:
138:
134:
129:
127:
123:
119:
115:
111:
107:
103:
99:
95:
91:
87:
83:
79:
75:
71:
67:
66:Ancient Roman
63:
62:Ancient Greek
59:
55:
48:
44:
39:
33:
19:
1713:Other orders
1665:
1625:
1594:
1572:
1551:
1532:
1512:
1500:
1493:
1486:
1466:Online books
1456:
1438:
1425:World of Art
1424:
1415:
1392:. Retrieved
1388:the original
1381:
1372:
1361:. Retrieved
1356:
1348:
1329:
1323:
1304:
1298:
1279:
1251:
1245:
1236:
1227:
1208:
1202:
1194:
1189:
1169:
1162:
1143:
1137:
1123:
1115:
1110:
1101:
1090:. Retrieved
1086:
1076:
1071:, Tours 1981
1068:
1063:
1054:
1045:
1037:
1028:
1021:
1007:Roman temple
1002:Greek temple
975:
956:
953:, architect)
884:
880:mangelwurzel
873:
861:John Boydell
848:invented an
846:George Dance
843:
821:
812:fleur-de-lis
789:
786:French order
762:
760:
753:
750:nonce orders
749:
746:
743:Nonce orders
706:
701:
689:
688:In America,
687:
683:
678:
665:
663:
615:
603:
599:
597:
580:
576:
572:
568:
546:
537:
506:
503:Tuscan order
481:Tuscan order
468:
449:
438:Roman orders
414:
407:
376:
370:
365:
359:egg-and-dart
347:Aeolic order
344:
310:
298:
279:
241:
237:
231:in European
229:
226:Greek orders
220:
191:
178:entablatures
171:
130:
121:
69:
58:architecture
53:
51:
32:Social order
18:Greek column
1838:Robot order
825:'s brother
823:Robert Adam
755:nonce words
549:Renaissance
471:Giant order
452:Renaissance
424:Callimachus
341:Ionic order
335:Ionic order
276:Doric order
270:Doric order
265:from Athens
209:Measurement
1868:Categories
1740:Superposed
1694:Corinthian
1668:and other
1433:0500201773
1406:References
1394:2017-12-29
1363:2022-12-21
1092:2023-08-12
982:Monticello
951:A.J. Davis
831:Clérisseau
653:Cyclopædia
645:Corinthian
575:(gender),
426:, a Greek
90:Corinthian
1853:Waterleaf
1761:Colonnade
1704:Composite
890:New Delhi
857:ammonites
649:Composite
598:The term
561:Vitruvius
460:Composite
417:Vitruvius
313:stylobate
302:triglyphs
263:Parthenon
145:pilasters
126:intervals
124:like the
98:Composite
43:stylobate
1823:Pilaster
1786:Estipite
1756:Caryatid
1725:Ammonite
1510:(2005).
1427:series,
996:See also
990:magnolia
844:In 1789
810:above a
583:(work).
517:Budapest
428:sculptor
420:credited
388:Pantheon
330:(London)
286:capitals
174:capitals
168:Elements
141:porticos
118:rhetoric
47:pediment
1833:Pulvino
1670:columns
794:in the
713:Bauhaus
612:Raphael
608:Peruzzi
521:Hungary
493:at the
377:fasciae
373:entasis
355:volutes
351:pillars
326:of the
306:metopes
290:annulet
195:echinus
187:entasis
183:fluting
122:modules
114:grammar
1828:Piloti
1720:Aeolic
1699:Tuscan
1602:
1581:
1558:
1539:
1520:
1454:about
1431:
1336:
1311:
1286:
1258:
1215:
1177:
1150:
854:fossil
735:, and
702:Regola
633:Tuscan
456:Tuscan
294:abacus
282:Greece
248:Sicily
199:abacus
112:; the
94:Tuscan
88:, and
78:column
1735:Nonce
1730:Giant
1689:Ionic
1684:Doric
1013:Notes
827:James
641:Ionic
637:Doric
616:canon
604:canon
600:order
581:opera
573:genus
569:order
362:motif
86:Ionic
82:Doric
54:order
1848:Stoa
1811:Pier
1600:ISBN
1579:ISBN
1556:ISBN
1537:ISBN
1518:ISBN
1429:ISBN
1334:ISBN
1309:ISBN
1284:ISBN
1256:ISBN
1213:ISBN
1175:ISBN
1148:ISBN
859:for
790:The
647:and
590:The
547:The
469:The
458:and
392:Rome
366:tori
304:and
203:arch
163:row)
102:mode
64:and
45:and
1034:680
867:in
863:'s
668:by
577:mos
390:in
116:or
108:of
106:key
104:or
56:in
52:An
1870::
1624:.
1414:,
1380:.
1270:^
1085:.
1036:.
908:.
871:.
841:.
837:,
814:.
782:.
777:c.
775:,
731:,
643:,
639:,
635:,
610:,
519:,
235:.
151:.
84:,
1658:e
1651:t
1644:v
1608:.
1587:.
1564:.
1545:.
1526:.
1397:.
1366:.
1342:.
1317:.
1292:.
1264:.
1221:.
1183:.
1156:.
1131:.
1095:.
949:(
748:"
523:)
34:.
20:)
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