Editing Doric order (section)

==History==

===Greek===
In their original Greek version, Doric [[column]]s 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 [[fluting (architecture)|fluted]] with 20&nbsp;parallel concave [[Fluting (architecture)|grooves]], each rising to a sharp edge called an [[arris]]. They were topped by a smooth [[capital (architecture)|capital]] that flared from the column to meet a square [[abacus (architecture)|abacus]] at the intersection with the horizontal [[beam (structure)|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 in Greece|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 [[triglyph]]s and [[metope (architecture)|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 (architecture)|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.<ref>Summerson, 13–15, 126</ref>
[[File:Doric-corner-conflict.png|thumb|right|150px|The Doric corner conflict]]

====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 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 which 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 which 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&nbsp;('''''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&nbsp;('''''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.<ref>Ian Jenkins, ''Greek Architecture And Its Sculpture'' (Cambridge, Massachusetts: Harvard University Press, 2006), 15.</ref> One belief is that the Doric order is the result of early wood prototypes of previous temples.<ref>Jenkins, 16.</ref> 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 [[Ancient Egypt|Egypt]].<ref>Jenkins, 16–17.</ref> With the Greeks being present in Ancient Egypt as soon the 7th-century BC, it is possible that Greek traders were inspired by the structures they saw in what they would consider 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. It is also in Greece, which would make it very accessible.

{{multiple image| align = left | direction = horizontal | header_align = left/right/center| footer = '''Left image''': Characteristic shape of the Doric [[anta (architecture)|anta]] [[capital (architecture)|capital]].<br> '''Right image''': Doric anta capital at the [[Athenian Treasury]] ({{circa|500 BC}}).| footer_align = left | image1 =Doric anta characteristic shape.jpg| width1 = 145 | caption1  = | image2 =Doric anta Athenian Treasury.jpg| width2 = 190| caption2 = }}
Some of the earliest examples of the Doric order come from the 7th-century BC. These examples include the [[Temple of Apollo (Corinth)|Temple of Apollo]] at [[Ancient Corinth|Corinth]] and the [[Nemea#Temple of Zeus|Temple of Zeus at Nemea]].<ref>Robin F. Rhodes, "Early Corinthian Architecture and the Origins of the Doric Order" in the ''American Journal of Archaeology'' 91, no. 3 (1987), 478.</ref> 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 completely 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 [[pediment]]ed 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]], is also in the Doric order, although the sculptural enrichment is more familiar in the Ionic order: the Greeks were never as doctrinaire in the use of the Classical vocabulary as [[Renaissance]] theorists or [[Neoclassical architecture|Neoclassical]] architects. The detail, part of the basic vocabulary of trained architects from the later 18th century onwards, shows how the width of the metopes was flexible: here they bear the famous [[Metopes of the Parthenon|sculptures including the battle of Lapiths and Centaurs]].
[[File:RomanDoricOrderEngraving.jpg|thumb|The Roman Doric order from the [[Theater of Marcellus]]: triglyphs centered over the end column]]

===Roman===
In the Roman Doric version, the height of the entablature has been reduced. The endmost triglyph is centered over the column rather than occupying the corner of the architrave. The columns are slightly less robust in their proportions. Below their caps, an [[astragal]] molding encircles the column like a ring. [[Crown molding]]s soften transitions between frieze and [[cornice]] and emphasize the upper edge of the [[abacus (architecture)|abacus]], which is the upper part of the capital.

Roman Doric columns also have moldings at their bases and stand on low square pads or are even raised on [[plinth]]s. In the Roman Doric mode, columns are not usually fluted; indeed, fluting is rare. Since the Romans did not insist on a triglyph covered corner, now both columns and triglyphs could be arranged equidistantly again and centered together. The architrave corner needed to be left "blank", which is sometimes referred to as a half, or ''demi-'', metope (''illustration, '''V.''', in Spacing the Columns above'').

The Roman architect [[Vitruvius]], following contemporary practice, outlined in [[De architectura|his treatise]] the procedure for laying out constructions based on a module, which he took to be one half a column's diameter, taken at the base. An illustration of [[Andrea Palladio]]'s Doric order, as it was laid out, with modules identified, by Isaac Ware, in ''The Four Books of Palladio's Architecture'' (London, 1738) is illustrated at [[Vitruvian module]].

According to Vitruvius, the height of Doric columns is six or seven times the diameter at the base.<ref>"...&nbsp;they measured a man's foot, and finding its length the sixth part of his height, they gave the column a similar proportion, that is, they made its height, including the capital, six times the thickness of the shaft, measured at the base. Thus the Doric order obtained its proportion, its strength, and its beauty, from the human figure." (Vitruvius, iv.6) "The successors of these people, improving in taste, and preferring a more slender proportion, assigned seven diameters to the height of the Doric column." (Vitruvius, iv.8)</ref> 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.<ref>Summerson, 41–43</ref>

====Graphics of ancient forms====
<gallery mode="packed" heights="170px">
Antike Polychromie 1.jpg|Original Doric [[Ancient Greek art#Polychromy|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|Compared of the Doric, [[Tuscan order|Tuscan]], [[Ionic order|Ionic]], [[Corinthian order|Corinthian]] and [[Composite order|Composite]] orders
</gallery>

===Modern===
[[File:Northington Grange - Hampshire.jpg|thumb|left|[[The Grange, Northington|The Grange]], nearby [[Northington]], [[England]], by [[William Wilkins (architect)|William Wilkins]], 1804, Europe's first house designed with all external detail of a Greek temple{{Citation needed|date=February 2020}}]]
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 dated 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 [[republicanism|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, [[Sicilian Baroque#Late Sicilian Baroque|when a French architect]] researching the ancient Greek temples designed an entrance to the Botanical Gardens in [[Palermo]].
{{clear}}