Editing Ionic order (section)

==Description==
[[File:Ionic order.svg|thumb|right|Ionic order: '''1''' – entablature, '''2''' – column, '''3''' – pediment, '''4''' – frieze, '''5''' – architrave or epistyle, '''6''' – capital (composed of abacus and volutes), '''7''' – shaft, '''8''' – base, '''9''' – stylobate, '''10''' – krepis]]

===Capital===
[[File: Capiteles de la fachada este del Erecteón, Atenas, Grecia, 2019 06.jpg |thumb|left|Ionic capital at the [[Erechtheum]] ([[Athens]]), 5th century BC]]
The major features of the Ionic order are the [[volute]]s of its [[capital (architecture)|capital]], which have been the subject of much theoretical and practical discourse, based on a brief and obscure passage in [[Vitruvius]].<ref>[http://www.nexusjournal.com/AndGal.html "Geometric Methods of the 1500s for Laying Out the Ionic Volute"] {{webarchive|url=https://web.archive.org/web/20051228085023/http://www.nexusjournal.com/AndGal.html |date=2005-12-28 }} Denise Andrey and Mirko Galli, ''Nexus Network Journal'', vol. 6 no. 2 (Autumn 2004), pp. 31–48. DOI 10.1007/s00004-004-0017-4.</ref> The only tools required to design these features were a straight-edge, a right angle, string (to establish half-lengths) and a compass. Below the volutes, the Ionic column may have a wide collar or banding separating the capital from the [[Fluting (architecture)|fluted]] shaft (as in, for example, the [[Neoclassical architecture|neoclassical]] mansion [[Castle Coole]]), or a swag of fruit and flowers may swing from the clefts or "neck" formed by the volutes.

Originally, the volutes lay in a single plane (''illustration at right''); then it was seen that they could be angled out on the corners. This feature of the Ionic order made it more pliant and satisfactory than the Doric to critical eyes in the 4th century BC: angling the volutes on the corner columns ensured that they "read" equally when seen from either front or side facade. However, some classical artists viewed this as unsatisfactory, feeling that the placement of Ionic columns at building corners required a distortion at the expense of the capital's structural logic; the [[Corinthian order]] would solve this by reading equally well from all angles.<ref>{{cite book |last1=De la Croix |first1=Horst |last2=Tansey |first2=Richard G. |last3=Kirkpatrick |first3=Diane |title=Gardner's Art Through the Ages |date=1991 |publisher=Thomson/Wadsworth |isbn=0-15-503769-2 |edition=9th |page=[https://archive.org/details/gardnersartthrou00gard/page/170 170] |url-access=registration |url=https://archive.org/details/gardnersartthrou00gard/page/170 }}</ref> The 16th-century Renaissance architect and theorist [[Vincenzo Scamozzi]] designed a version of such a perfectly four-sided Ionic capital that it became standard; when a Greek Ionic order was eventually reintroduced in the later 18th century [[Greek Revival]], it conveyed an air of archaic freshness and primitive, perhaps even republican, vitality.<ref><!--a citation for this commonplace statement was specifically requested-->A brief and accessible sketch of this familiar aspect of the Greek Revival "idea of primitivism, of searching back to the true, untainted sources of architectural beauty" (p. 38) and of the [[Utopia]]n aspects of [[Claude Nicolas Ledoux|Ledoux]] is briskly treated in Sir [[John Summerson]],  ''[[The Classical Language of Architecture]]'' (MIT Press) 1963; in discussions of American Greek Revival, the republic connotations of the Greek orders present an inescapable commonplace: "The Greek Revival style arose out of a young nation's desire to identify with the ideals of the ancient Greek Republic." ([http://www.rchsonline.org/ar_greek2.htm (Rensselaer County Historical Society) "Architectural Styles in Rensselaer County" (New York] {{Webarchive|url=https://web.archive.org/web/20070923003635/http://www.rchsonline.org/ar_greek2.htm |date=2007-09-23 }}); "Greece, the world's first democracy, seemed an appropriate philosophical reference point for a self-confident new republic."  ([http://www.oldhousejournal.com/magazine/2003/february/greek_revival.shtml (Old-House Journal), James C. Massey and Shirley Maxwell, "Greek Revival in America: From Tara to farmhouse temples."] {{Webarchive|url=https://web.archive.org/web/20071214031111/http://www.oldhousejournal.com/magazine/2003/february/greek_revival.shtml |date=2007-12-14 }}) are typical statements, selected almost at random from texts accessible on-line.</ref>

===Columns and entablature===
The Ionic [[column]] is always more slender than the Doric; therefore, it always has a base:<ref name="Heck1856">{{cite book|author=Johann Georg Heck|title=The Art of Building in Ancient and Modern Times, Or, Architecture Illustrated|url=https://books.google.com/books?id=WHhJAAAAYAAJ&pg=PA25|year=1856|publisher=D. Appleton|page=25}}</ref> Ionic columns are eight and nine column-diameters tall, and even more in the [[Antebellum architecture|Antebellum]] colonnades of late American Greek Revival plantation houses.{{Citation needed|date=September 2016}}

Ionic columns are most often [[Fluting (architecture)|fluted]]. After a little early experimentation, the number of hollow flutes in the shaft settled at 24. This standardization kept the fluting in a familiar proportion to the diameter of the column at any scale, even when the height of the column was exaggerated. Unlike Greek Doric fluting, which runs out to an [[arris]] or sharp edge, that was easily damaged by people brushing it as they passed by, Ionic fluting leaves a little flat-seeming surface of the column surface between each hollow (in fact it is a small segment of a circle around the column).<ref>[[A. W. Lawrence|Lawrence, A. W.]], ''Greek Architecture'', p. 130, 1957, Penguin, Pelican history of art. Lawrence dates this innovation to c. 500 BC</ref>

In some instances, the fluting has been omitted. English architect [[Inigo Jones]] introduced a note of sobriety with plain Ionic columns on his [[Banqueting House, Whitehall]], London, and when Beaux-Arts architect [[John Russell Pope]] wanted to convey the manly stamina combined with intellect of [[Theodore Roosevelt]], he left colossal Ionic columns unfluted on the Roosevelt memorial at the [[American Museum of Natural History]], New York City, for an unusual impression of strength and stature. Wabash Railroad architect R.E. Mohr included eight unfluted Ionic frontal columns on his 1928 design for the railroad's [[Delmar Boulevard station]] in St. Louis.

{{multiple image| align = right | direction = horizontal | header_align = left/right/center| footer = '''Left image''': Characteristic design of the Ionic [[anta capital]] (essentially flat layout with straight horizontal [[Molding (decorative)|moldings]]).<br /> '''Right image''': A Ionic [[anta capital]], with extensive bands of floral patterns in prolongation of adjoining [[frieze]]s at the [[Erechtheion]] (circa 410 BC).| footer_align = left | image1 =Ionic anta capital at the Erechtheum.jpg| width1 = 150 | caption1  = | image2 =Detail Erechtheum Acropolis Athens.jpg| width2 = 184| caption2 = }}
The [[entablature]] resting on the columns has three parts: a plain [[architrave]] divided into two, or more generally three, bands, with a [[frieze]] resting on it that may be richly sculptural, and a [[cornice]] built up with [[dentil]]s (like the closely spaced ends of joists), with a corona ("crown") and cyma ("ogee") [[Molding (decorative)|molding]] to support the projecting roof. Pictorial, often narrative, [[bas-relief]] frieze carving provides a characteristic feature of the Ionic order, in the area where the Doric order is articulated with [[triglyph]]s. Roman and Renaissance practice condensed the height of the entablature by reducing the proportions of the architrave, which made the frieze more prominent.

===Anta capital===
{{main|Anta capital}}
The Ionic anta capital is the Ionic version of the [[anta capital]], the crowning portion of an [[anta (architecture)|anta]], which is the front edge of a supporting wall in [[Greek temple]] architecture. The anta is generally crowned by a stone block designed to spread the load from superstructure (entablature) it supports, called an "anta capital" when it is structural, or sometimes "[[pilaster]] capital" if it is only decorative as often during the Roman period.

In order not to protrude unduly from the wall, these anta capitals usually display a rather flat surface, so that the capital has more or less a rectangular-shaped structure overall. The Ionic anta capital, in contrast to the regular column capitals, is highly decorated and generally includes bands of alternating [[lotus flower|lotuses]] and [[flame palmette]]s, and bands of [[egg-and-dart|eggs and darts]] and [[beads and reels]] patterns, in order to maintain continuity with the decorative frieze lining the top of the walls. This difference with the column capitals disappeared with Roman times when anta or pilaster capitals have designs very similar to those of the column capitals.<ref name="google">{{cite book|title=A handbook of ornament|author=Meyer, F.S.|isbn=9781171715481|url=https://books.google.com/books?id=WejuAgAAQBAJ&pg=PA214|page=214|publisher=Рипол Классик |access-date=2016-11-16}}</ref><ref name="books.google.com">The Classical Language of Architecture by John Summerson, p.47 "Anta" entry [https://books.google.com/books?id=57aoJE26kQkC&pg=PA47]</ref> The Ionic anta capitals as can be seen in the Ionic order temple of the [[Erechtheion]] (circa 410 BCE), are characteristically rectangular Ionic anta capitals, with extensive bands of floral patterns in prolongation of adjoining friezes.