27:
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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".
247:
608:
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.
670:("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".
455:. 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.
190:, 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
665:
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
607:
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).
288:
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
219:
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
822:; 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
527:
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
496:
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
210:
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
673:
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
181:
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
760:, 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
227:
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.
211:
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.
885:, 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
364:, 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 (
178:, 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.
277:(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
151:
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
169:
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
736:
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
304:. 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.
26:
641:
981:
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".
954:
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
540:
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
497:
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.
243:, 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.
431:
1582:
194:
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.
712:
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
49:
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
239:, 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
1867:
893:
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
397:
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
560:
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:
1027:
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.
500:
1615:
913:
439:
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
235:
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
1645:
297:. 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.
823:
368:). The frieze comes without the Doric triglyph and metope. The frieze sometimes comes with a continuous ornament such as carved figures instead.
1405:
136:. This treatment continued after the conscious and "correct" use of the orders, initially following exclusively Roman models, returned in the
1592:
1571:
1548:
1529:
1510:
1205:
1167:
1140:
1440:
595:
started circulating in Rome, at the beginning of the 16th century, probably during the studies of Vitruvius' text conducted and shared by
1872:
965:
With peace restored, Latrobe designed an American order that substituted tobacco leaves for the acanthus, of which he sent a sketch to
423:
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.
353:. The Ionic shaft comes with four more flutes than the Doric counterpart (totalling 24). The Ionic base has two convex moldings called
144:, inspired by increasing knowledge of Greek originals, returned to more authentic models, including ones from relatively early periods.
1882:
1326:
1301:
1276:
1248:
583:
in Paris presents columns of the three orders: Doric at the ground floor, Ionic at the second floor, Corinthian at the third floor.
1877:
1789:
648:
580:
420:
65:, each distinguished by its proportions and characteristic profiles and details, and most readily recognizable by the type of
1638:
1421:
1366:
312:
616:
1764:
704:
promoted pure functionalism, stripped of superfluous ornament, and that has become one of the defining characteristics of
240:
1754:
1601:
1094:
The most recent English translation is the one, with an introduction and commentary by Branko Mitrovic, New York. 1999
853:
697:
819:
757:
1133:
The American Builder's Companion: Or, a System of Architecture Particularly Adapted to the Present Style of Building
1862:
662:
141:
121:
1631:
1485:, Translated into English, with an introduction and commentary by Branko Mitrovic, Acanthus Press, New York, 1999
221:
1117:
552:, is the only architectural writing that survived from Antiquity. Effectively rediscovered in the 15th century,
89:, which was more ornamental than the Corinthian. The architectural order of a classical building is akin to the
1841:
935:
537:
463:
232:
401:
and four scrolls. The shaft of the Corinthian order has 24 flutes. The column is commonly ten diameters high.
1071:
1887:
974:
939:
882:
761:
717:
709:
685:, influenced many builders in the eastern states, particularly those who developed what became known as the
300:
The Greek forms of the Doric order come without an individual base. They instead are placed directly on the
147:
1492:, Translated by John Leeke (1669), with an introduction by David Watkin, Dover Publications, New York, 2011
1464:
334:
The Ionic order came from eastern Greece, where its origins are entwined with the similar but little known
834:
815:
412:
408:
278:
274:
171:
162:
62:
1522:
Classical Architecture: An Introduction to Its Vocabulary and Essentials, With a Select Glossary of Terms
959:
951:
752:
307:
294:
282:
187:
1454:
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admired it enough to make a drawing of it. In 1809 Latrobe invented a second American order, employing
955:
273:. It is the simplest of the orders, characterized by short, organized, heavy columns with plain, round
894:
784:
686:
483:
183:
1609:
728:
in the United States, continue the classical tradition, and use the classical orders in their work.
371:
1799:
1371:
1342:
890:
827:
705:
474:
398:
350:
137:
1022:
186:
lies atop the necking. It is a circular block that bulges outwards towards the top to support the
886:
596:
125:
575:
128:
where the arch was often dominant, the orders became increasingly decorative elements except in
346:(also called "scrolls") in the echinus of the capital. The echinus itself is decorated with an
1779:
1588:
1567:
1544:
1525:
1506:
1417:
1410:
1322:
1297:
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1244:
1201:
1163:
1136:
874:
864:
857:
792:
658:
969:
in a letter, 5 November 1816. He was encouraged to send a model of it, which remains at
466:. The Giant order is characterized by columns that extend the height of two or more stories.
1831:
1728:
1682:
966:
947:
932:
633:
479:
452:
392:
114:
78:
1692:
788:
780:
721:
637:
553:
543:
522:
448:
98:
86:
281:, which is a simple ring. The echinus is convex, or circular cushion like stone, and the
1016:
927:
451:, respectively the plainest and most ornate of the orders. The Romans also invented the
202:
1794:
1784:
1769:
1759:
1713:
1560:
1496:
1400:
838:
796:
682:
376:
316:
1459:
958:
and used in the small domed vestibule of the Senate. Only this vestibule survived the
419:
of the 5th century BC. The oldest known building built according to this order is the
132:
and similar uses. Columns shrank into half-columns emerging from walls or turned into
1856:
1804:
1623:
725:
713:
117:
of music, and it raises certain expectations in an audience attuned to its language.
54:
50:
1708:
1687:
995:
990:
868:
849:
800:
621:
491:
444:
347:
335:
246:
90:
82:
46:
20:
1376:
81:—originated in Greece. To these the Romans added, in practice if not in name, the
1500:
1157:
1826:
1723:
1718:
1677:
1672:
811:
629:
625:
459:
440:
329:
264:
166:
94:
74:
70:
970:
743:
666:
various plates, as separate sheets, appeared in Rome in 1562, with the title:
1749:
878:
549:
416:
405:
301:
251:
31:
1608:
787:
contains pilasters with bronze capitals in the "French order". Designed by
231:
Both the Doric and the Ionic order appear to have originated in wood. The
1811:
1774:
1744:
978:
845:
556:
as the ultimate authority on architecture. However, in his text the word
505:
290:
133:
106:
35:
1821:
1107:, translated by John Leeke, reprint of the 1699 edition, New York, 2011
1018:
An Encyclopædia of Architecture: Historical, Theoretical, and Practical
701:
600:
509:
361:
175:
129:
102:
655:
Regole generali di architettura sopra le cinque maniere de gli edifici
1816:
1658:
1159:
The American Vignola: a guide to the making of classical architecture
842:
343:
339:
270:
236:
66:
16:
Styles of classical architecture, recognizable by the type of column
926:
615:
574:
499:
473:
435:
Tuscan capital and entablature, illustration from the 18th century
430:
370:
306:
245:
201:
146:
25:
700:, then the development of modernism during the 19th century. The
1836:
818:
was in Rome in 1762, drawing antiquities under the direction of
380:
191:
174:. The shaft is wider at the bottom than at the top, because its
1627:
653:
Following the examples of Vitruvius and the five books of the
486:, completed in 1619, includes Tuscan through Composite orders.
124:, which made little use of the arch until its late period, in
750:
These nonce orders all express the "speaking architecture" (
620:
Illustrations of the Classical orders (from left to right):
756:) that was taught in the Paris courses, most explicitly by
841:, a variant of Ionic, substituting volutes in the form of
19:
This article is about architecture. For social order, see
1428:
Histoires d’ordres: le langage européen de l’architecture
1021:. London: Longman, Brown, Green, and Longmans. pp.
375:
Corinthian capital of a column from the interior of the
269:
The Doric order originated on the mainland and western
109:
of a written composition. It is established by certain
696:
The break from the classical mode came first with the
1294:
Sir Edwin Lutyens: Designing in the English tradition
681:, written in the early 19th century by the architect
1737:
1701:
1665:
902:
791:, the capitals display the national emblems of the
689:. The last American re-interpretation of Vignola's
504:
Composite capital in the former Palace of Justice (
1559:
1243:. London, UK: George Allen and Unwin. p. 69.
603:, and Sangallo. Ever since, the definition of the
120:Whereas the orders were essentially structural in
1619:. Vol. 20 (11th ed.). pp. 176–183.
1186:. Paris: Albin Michel. p. 83. ISBN 9782226321428.
1184:Le Château de Versailles. Vu par ses photographes
1296:. London: National Trust Books. pp. 41–42.
1321:. London: George Allen and Unwin. p. 161.
1271:. London: George Allen and Unwin. p. 151.
1058:24Ă©me Colloque International d'Etude Humanistes
69:employed. The three orders of architecture—the
1262:
1260:
548:by Roman theoretician, architect and engineer
85:, which they made simpler than Doric, and the
1639:
1476:The Origins of the Greek Architectural Orders
693:, was edited in 1904 by William Robert Ware.
8:
1562:Classical architecture: the poetics of order
889:, was a thorough integration of elements of
443:that these were named and formalized as the
1558:Tzonis, Alexander; Lefaivre, Liane (1986).
1426:Frédérique Lemerle et Yves Pauwels (dir.),
1196:Curl, James Stevens; Wilson, Susan (2016).
1162:. Courier Dover Publications. p. 160.
541:
1646:
1632:
1624:
1118:"Architectura – Les livres d'Architecture"
863:An adaptation of the Corinthian order by
668:Regola delli cinque ordini d'architettura
411:the invention of the Corinthian order to
338:. It is distinguished by slender, fluted
30:Greek, "Etruscan" and Roman orders, with
1105:Canon of the Five Orders of Architecture
591:, as well as the idea of redefining the
1200:. Oxford University Press. p. 22.
1007:
612:Vignola defining the concept of "order"
1584:The Elements of Classical Architecture
1541:The Classical Language of Architecture
1406:The Classical Language of Architecture
1343:"The 1814 burning of Washington, D.C."
899:
881:as the new seat of government for the
360:The Ionic order is also marked by an
165:at the top of columns and horizontal
7:
1868:Ancient Roman architectural elements
1502:The Classical Orders Of Architecture
478:The Tower of The Five Orders at the
357:, which are separated by a scotia.
1182:Fouin, Christophe, et al. (2016).
1103:David Watkin, Introduction to the
871:is termed the Agricultural order.
342:with a large base and two opposed
14:
1478:(Cambridge University Press) 2001
1319:Edwin Lutyens: Architect Laureate
1269:Edwin Lutyens: Architect Laureate
1241:Edwin Lutyens: Architect Laureate
1198:Oxford Dictionary of Architecture
747:; several examples follow below.
1539:John Newenham Summerson (1963).
1505:. Elsevier/Architectural Press.
908:
679:The American Builder's Companion
1367:"United States Capitol exhibit"
649:The Five Orders of Architecture
581:St-Gervais-et-St-Protais Church
421:Choragic Monument of Lysicrates
1607:Spiers, Richard Phené (1911).
1587:. W. W. Norton & Company.
1524:. W. W. Norton & Company.
313:Queen Elizabeth II Great Court
1:
1602:Classical orders and elements
1488:Barozzi da Vignola, Giacomo,
1481:Barozzi da Vignola, Giacomo,
765:
708:. There are some exceptions.
661:published from 1537 onwards,
554:Vitruvius came to be regarded
464:architects in the Renaissance
241:ancient Egyptian architecture
206:Greek orders with full height
1465:Resources in other libraries
867:that used turnip leaves and
795:: the royal sun between two
1520:James Stevens Curl (2003).
1317:Gradidge, Roderick (1981).
1292:Wilhide, Elizabeth (2012).
1267:Gradidge, Roderick (1981).
1239:Gradidge, Roderick (1981).
698:Gothic Revival architecture
285:is a square slab of stone.
161:Each style has distinctive
1906:
1873:Ancient Greek architecture
1056:H. Burns and H. Gunthers,
663:Giacomo Barozzi da Vignola
646:
568:(habit, fashion, manner),
520:
489:
390:
327:
262:
142:Greek Revival architecture
122:Ancient Greek architecture
18:
1883:Neoclassical architecture
1581:Gromort, Georges (2001).
1460:Resources in your library
1156:Ware, William R. (1994).
907:
877:, who from 1912 laid out
222:Neoclassical architecture
1490:Canon of the Five Orders
1483:Canon of the Five Orders
1430:, Turhout, Brepols, 2021
1131:Benjamin, Asher (1827).
962:in 1814, nearly intact.
936:Prospect Park (Brooklyn)
1616:Encyclopædia Britannica
975:Alexander Jackson Davis
950:, the architect of the
916:– a Smarthistory video.
883:British Empire in India
762:Beaux-Arts architecture
311:Ionic capital from the
1878:Classical architecture
1474:Barletta, Barbara A.,
1135:. Dover Publications.
1015:Gwilt, Joseph (1842).
943:
644:
584:
542:
532:Historical development
513:
487:
436:
383:
320:
255:
207:
153:
63:classical architecture
38:
960:Burning of Washington
946:In the United States
930:
758:Étienne-Louis Boullée
753:architecture parlante
640:, made in 1728, from
619:
578:
503:
477:
434:
374:
310:
250:Doric capital of the
249:
205:
150:
29:
1047:Summerson, pp. 19–21
931:Corn capital at the
914:The Classical orders
895:Campion Hall, Oxford
785:Palace of Versailles
484:University of Oxford
59:architectural orders
1372:Library of Congress
1038:Summerson, pp. 7–15
891:Indian architecture
854:Shakespeare Gallery
828:Columbia University
706:modern architecture
138:Italian Renaissance
1666:Greco-Roman orders
1072:"Classical Orders"
944:
887:Rashtrapati Bhavan
645:
585:
514:
488:
437:
384:
321:
256:
208:
154:
126:Roman architecture
61:are the styles of
57:civilization, the
39:
1863:Orders of columns
1850:
1849:
1780:Intercolumniation
1594:978-0-393-73051-7
1573:978-0-262-70031-3
1566:. The MIT Press.
1550:978-0-262-69012-6
1543:. The MIT Press.
1531:978-0-393-73119-4
1512:978-0-7506-6124-9
1441:Library resources
1411:Thames and Hudson
1220:Curl, p. 238
1207:978-0-19-967499-2
1169:978-0-486-28310-4
1142:978-0-486-22236-3
1076:sites.scran.ac.uk
956:Giuseppe Franzoni
920:
919:
875:Sir Edwin Lutyens
865:William Donthorne
858:Pall Mall, London
793:Kingdom of France
659:Sebastiano Serlio
404:The Roman writer
1895:
1832:Solomonic column
1738:Related articles
1655:Classical orders
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1641:
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1516:
1409:, 1980 edition,
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1375:. Archived from
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1348:. 31 August 2014
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967:Thomas Jefferson
952:Capitol building
948:Benjamin Latrobe
933:Litchfield Villa
912:
911:
900:
770:
769: 1875–1915
767:
741:" by analogy to
716:in England, and
547:
528:diameters high.
480:Bodleian Library
462:was invented by
453:Superposed order
393:Corinthian order
387:Corinthian order
289:is divided into
1905:
1904:
1898:
1897:
1896:
1894:
1893:
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1846:
1765:Egyptian column
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1497:Chitham, Robert
1495:
1471:
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1449:
1448:
1446:Classical order
1444:
1437:
1435:Further reading
1401:Summerson, John
1397:
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1349:
1346:www.cbsnews.com
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1070:Small, Julian.
1069:
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1046:
1042:
1037:
1033:
1014:
1013:
1009:
1004:
987:
973:. In the 1830s
925:
923:American orders
909:
903:External videos
809:
797:Gallic roosters
789:Charles Le Brun
781:Hall of Mirrors
777:
768:
734:
722:Richard Sammons
651:
614:
544:De architectura
534:
525:
523:Composite order
519:
517:Composite order
494:
472:
429:
399:acanthus leaves
395:
389:
332:
326:
267:
261:
217:
200:
159:
99:classical music
24:
17:
12:
11:
5:
1903:
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1888:Design history
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1807:
1797:
1795:Persian column
1792:
1787:
1785:Knotted column
1782:
1777:
1772:
1770:Engaged column
1767:
1762:
1760:Coupled column
1757:
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1000:
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924:
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918:
917:
905:
904:
839:Ammonite order
808:
807:British orders
805:
776:
773:
733:
730:
683:Asher Benjamin
647:Main article:
613:
610:
533:
530:
521:Main article:
518:
515:
490:Main article:
471:
468:
428:
425:
391:Main article:
388:
385:
328:Main article:
325:
322:
317:British Museum
263:Main article:
260:
257:
233:Temple of Hera
216:
213:
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158:
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13:
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1805:Compound pier
1803:
1802:
1801:
1798:
1796:
1793:
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1790:Marian column
1788:
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1783:
1781:
1778:
1776:
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1755:Concatenation
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1618:
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1611:
1610:"Order"
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1398:
1394:
1379:on 2017-07-15
1378:
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1347:
1344:
1338:
1335:
1330:
1328:0-04-720023-5
1324:
1320:
1313:
1310:
1305:
1303:9781907892271
1299:
1295:
1288:
1285:
1280:
1278:0-04-720023-5
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1250:0-04-720023-5
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824:Avery Library
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748:
746:
745:
740:
731:
729:
727:
726:Duncan Stroik
723:
719:
718:Michael Dwyer
715:
714:Quinlan Terry
711:
710:Postmodernism
707:
703:
699:
694:
692:
688:
687:Federal style
684:
680:
675:
671:
669:
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660:
656:
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643:
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631:
627:
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286:
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258:
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96:
92:
88:
84:
80:
76:
72:
68:
64:
60:
56:
55:Ancient Roman
52:
51:Ancient Greek
48:
44:
37:
33:
28:
22:
1702:Other orders
1654:
1614:
1583:
1561:
1540:
1521:
1501:
1489:
1482:
1475:
1455:Online books
1445:
1427:
1414:World of Art
1413:
1404:
1381:. Retrieved
1377:the original
1370:
1361:
1350:. Retrieved
1345:
1337:
1318:
1312:
1293:
1287:
1268:
1240:
1234:
1225:
1216:
1197:
1191:
1183:
1178:
1158:
1151:
1132:
1126:
1112:
1104:
1099:
1090:
1079:. Retrieved
1075:
1065:
1060:, Tours 1981
1057:
1052:
1043:
1034:
1026:
1017:
1010:
996:Roman temple
991:Greek temple
964:
945:
942:, architect)
873:
869:mangelwurzel
862:
850:John Boydell
837:invented an
835:George Dance
832:
810:
801:fleur-de-lis
778:
775:French order
751:
749:
742:
739:nonce orders
738:
735:
732:Nonce orders
695:
690:
678:
677:In America,
676:
672:
667:
654:
652:
604:
592:
588:
586:
569:
565:
561:
557:
535:
526:
495:
492:Tuscan order
470:Tuscan order
457:
438:
427:Roman orders
403:
396:
365:
359:
354:
348:egg-and-dart
336:Aeolic order
333:
299:
287:
268:
230:
226:
220:in European
218:
215:Greek orders
209:
180:
167:entablatures
160:
119:
110:
58:
47:architecture
42:
40:
21:Social order
1827:Robot order
814:'s brother
812:Robert Adam
744:nonce words
538:Renaissance
460:Giant order
441:Renaissance
413:Callimachus
330:Ionic order
324:Ionic order
265:Doric order
259:Doric order
254:from Athens
198:Measurement
1857:Categories
1729:Superposed
1683:Corinthian
1657:and other
1422:0500201773
1395:References
1383:2017-12-29
1352:2022-12-21
1081:2023-08-12
971:Monticello
940:A.J. Davis
820:Clérisseau
642:Cyclopædia
634:Corinthian
564:(gender),
415:, a Greek
79:Corinthian
1842:Waterleaf
1750:Colonnade
1693:Composite
879:New Delhi
846:ammonites
638:Composite
587:The term
550:Vitruvius
449:Composite
406:Vitruvius
302:stylobate
291:triglyphs
252:Parthenon
134:pilasters
115:intervals
113:like the
87:Composite
32:stylobate
1812:Pilaster
1775:Estipite
1745:Caryatid
1714:Ammonite
1499:(2005).
1416:series,
985:See also
979:magnolia
833:In 1789
799:above a
572:(work).
506:Budapest
417:sculptor
409:credited
377:Pantheon
319:(London)
275:capitals
163:capitals
157:Elements
130:porticos
107:rhetoric
36:pediment
1822:Pulvino
1659:columns
783:in the
702:Bauhaus
601:Raphael
597:Peruzzi
510:Hungary
482:at the
366:fasciae
362:entasis
344:volutes
340:pillars
315:of the
295:metopes
279:annulet
184:echinus
176:entasis
172:fluting
111:modules
103:grammar
1817:Piloti
1709:Aeolic
1688:Tuscan
1591:
1570:
1547:
1528:
1509:
1443:about
1420:
1325:
1300:
1275:
1247:
1204:
1166:
1139:
843:fossil
724:, and
691:Regola
622:Tuscan
445:Tuscan
283:abacus
271:Greece
237:Sicily
188:abacus
101:; the
83:Tuscan
77:, and
67:column
1724:Nonce
1719:Giant
1678:Ionic
1673:Doric
1002:Notes
816:James
630:Ionic
626:Doric
605:canon
593:canon
589:order
570:opera
562:genus
558:order
351:motif
75:Ionic
71:Doric
43:order
1837:Stoa
1800:Pier
1589:ISBN
1568:ISBN
1545:ISBN
1526:ISBN
1507:ISBN
1418:ISBN
1323:ISBN
1298:ISBN
1273:ISBN
1245:ISBN
1202:ISBN
1164:ISBN
1137:ISBN
848:for
779:The
636:and
579:The
536:The
458:The
447:and
381:Rome
355:tori
293:and
192:arch
152:row)
91:mode
53:and
34:and
1023:680
856:in
852:'s
657:by
566:mos
379:in
105:or
97:of
95:key
93:or
45:in
41:An
1859::
1613:.
1403:,
1369:.
1259:^
1074:.
1025:.
897:.
860:.
830:.
826:,
803:.
771:.
766:c.
764:,
720:,
632:,
628:,
624:,
599:,
508:,
224:.
140:.
73:,
1647:e
1640:t
1633:v
1597:.
1576:.
1553:.
1534:.
1515:.
1386:.
1355:.
1331:.
1306:.
1281:.
1253:.
1210:.
1172:.
1145:.
1120:.
1084:.
938:(
737:"
512:)
23:.
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