Editing Doric order (section)

===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>