Doric order

Greek In their original Greek version, Doric columns stood directly on the flat pavement (the stylobate) of a temple without a base. With a height only four to eight times their diameter, the columns were the most squat of all the classical orders; their vertical shafts were fluted with 20 parallel concave grooves, each rising to a sharp edge called an arris. They were topped by a smooth capital that flared from the column to meet a square abacus at the intersection with the horizontal beam (architrave) that they carried. The Parthenon is in the Doric order, and in antiquity and subsequently has been recognized as the most perfect example of the evolved order. It was most popular in the Archaic Period (750–480 BC) in mainland Greece, and also found in Magna Graecia (southern Italy), as in the three temples at Paestum. These are in Archaic Doric, where the capitals spread wide from the column compared to later Classical forms, as exemplified in the Parthenon. Pronounced features of both Greek and Roman versions of the Doric order are the alternating triglyphs and metopes. The triglyphs are decoratively grooved with two vertical grooves ("tri-glyph") and represent the original wooden end-beams, which rest on the plain architrave that occupies the lower half of the entablature. Under each triglyph are peglike "stagons" or "guttae" (literally: drops) that appear as if they were hammered in from below to stabilize the post-and-beam (trabeated) construction. They also served to "organize" rainwater runoff from above. The spaces between the triglyphs are the "metopes". They may be left plain, or they may be carved in low relief. Spacing the triglyphs The spacing of the triglyphs caused problems, which took some time to resolve. A triglyph is centered above every column, with another (or sometimes two) between columns, though the Greeks felt that the corner triglyph should form the corner of the entablature, creating an inharmonious mismatch with the supporting column. The architecture followed the rules of harmony. Since the original design probably came from wooden temples and the triglyphs were real heads of wooden beams, every column had to bear a beam that lay across the centre of the column. Triglyphs were arranged regularly; the last triglyph was centred upon the last column (illustration, right: I.). This was regarded as the ideal solution that had to be reached. Changing to stone cubes instead of wooden beams required full support of the architrave load at the last column. At the first temples the final triglyph was moved (illustration, right: II.), still terminating the sequence, but leaving a gap disturbing the regular order. Even worse, the last triglyph was not centered with the corresponding column. That "archaic" manner was not regarded as a harmonious design. The resulting problem is called the Doric corner conflict. Another approach was to apply a broader corner triglyph (III.), but was not really satisfying. Because the metopes are somewhat flexible in their proportions, the modular space between columns ("intercolumniation") can be adjusted by the architect. Often, the last two columns were set slightly closer together (corner contraction), to give a subtle visual strengthening to the corners. That is called the "classic" solution of the corner conflict (IV.). Triglyphs could be arranged in a harmonic manner again, and the corner was terminated with a triglyph, though the final triglyph and column were often not centered. Roman aesthetics did not demand that a triglyph form the corner, and filled it with a half (demi-) metope, allowing triglyphs centered over columns (illustration, right, V.). Temples There are many theories as to the origins of the Doric order in temples. The term Doric is believed to have originated from the Greek-speaking Dorian tribes. One belief is that the Doric order is the result of early wood prototypes of previous temples. With no hard proof and the sudden appearance of stone temples from one period after the other, this becomes mostly speculation. Another belief is that the Doric was inspired by the architecture of Egypt. With the Greeks being present in Ancient Egypt as early as the 7th-century BC, it is possible that Greek traders were inspired by the structures they saw in what they would consider a foreign land. Finally, another theory states that the inspiration for the Doric came from Mycenae. At the ruins of this civilization lies architecture very similar to the Doric order. Yet another theory suggests that the plan of Doric temples originated with the megaron plan found since the 3rd millennium in continental Greece, and was expanded toward the cult statue typically located at the rear of the central hall. Other examples of the Doric order include the three 6th-century BC temples at Paestum in southern Italy, a region called Magna Graecia, which was settled by Greek colonists. Compared to later versions, the columns are much more massive, with a strong entasis or swelling, and wider capitals. The Temple of the Delians is a "peripteral" Doric order temple, the largest of three dedicated to Apollo on the island of Delos. It was begun in 478 BC and never finished. During their period of independence from Athens, the Delians reassigned the temple to the island of Poros. It is "hexastyle", with six columns across the pedimented end and thirteen along each long face. All the columns are centered under a triglyph in the frieze, except for the corner columns. The plain, unfluted shafts on the columns stand directly on the platform (the stylobate), without bases. The recessed "necking" in the nature of fluting at the top of the shafts and the wide cushionlike echinus may be interpreted as slightly self-conscious archaising features, for Delos is Apollo's ancient birthplace. However, the similar fluting at the base of the shafts might indicate an intention for the plain shafts to be capable of wrapping in drapery. A classic statement of the Greek Doric order is the Temple of Hephaestus in Athens, built about 447 BC. The contemporary Parthenon, the largest temple in classical Athens, represents the peak of perfection of Doric order architecture, This gives the Doric columns a shorter, thicker look than Ionic columns, which have 8:1 proportions. It is suggested that these proportions give the Doric columns a masculine appearance, whereas the more slender Ionic columns appear to represent a more feminine look. This sense of masculinity and femininity was often used to determine which type of column would be used for a particular structure. Later periods reviving classical architecture used the Roman Doric until Neoclassical architecture arrived in the later 18th century. This followed the first good illustrations and measured descriptions of Greek Doric buildings. The most influential, and perhaps the earliest, use of the Doric in Renaissance architecture was in the circular Tempietto by Donato Bramante (1502 or later), in the courtyard of San Pietro in Montorio, Rome. Decline Towards the latter part of the 5th century, a new preference for a more flexible architectural style led to a decline of the Doric order. Although no longer the preferred architectural style, it remained as a basic element of the Roman and Hellenistic periods. Graphics of ancient forms Antike Polychromie 1.jpg|Original Doric polychromy File:Doric-order-labeled.jpg|Upper parts, labelled File:Schema Saeulenordnungen (cropped).jpg|Three Greek Doric columns File:Fotothek df tg 0003893 Architektur ^ Säule ^ Ordnung.jpg|The Five Orders, originally illustrated by Giacomo Barozzi da Vignola, 1640 File:ARCHITECTURE ORDERS Greeks Etruscan Roman (Doric Ionic Corinthian Tuscan Composite) by Paolo Villa ENG edition.pdf| Comparison of the Doric, Tuscan, Ionic, Corinthian, and Composite orders Modern , nearby Northington, England, by William Wilkins, 1804, Europe's first house designed with all external detail of a Greek temple Before Greek Revival architecture grew, initially in England, in the 18th century, the Greek or elaborated Roman Doric order had not been very widely used, though "Tuscan" types of round capitals were always popular, especially in less formal buildings. It was sometimes used in military contexts, for example, the Royal Hospital Chelsea (1682 onwards, by Christopher Wren). The first engraved illustrations of the Greek Doric order date to the mid-18th century. Its appearance in the new phase of Classicism brought with it new connotations of high-minded primitive simplicity, seriousness of purpose, noble sobriety. In Germany, it suggested a contrast with the French, and in the United States, republican virtues. In a customs house, Greek Doric suggested incorruptibility; in a Protestant church, a Greek Doric porch promised a return to an untainted early church; it was equally appropriate for a library, a bank, or a trustworthy public utility. The revived Doric did not return to Sicily until 1789, when a French architect researching the ancient Greek temples designed an entrance to the Botanical Gardens in Palermo. ==Examples==