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The Corinthian order (Template:Langx, Korinthiakós rythmós; Template:Langx) is the last developed and most ornate of the three principal classical orders of Ancient Greek architecture and Roman architecture. The other two are the Doric order, which was the earliest, followed by the Ionic order. In Ancient Greek architecture, the Corinthian order follows the Ionic in almost all respects, other than the capitals of the columns, though this changed in Roman architecture.<ref>Lawrence, 85; Summerson, 124, 176</ref>
A Corinthian capital may be seen as an enriched development of the Ionic capital, though one may have to look closely at a Corinthian capital to see the Ionic volutes ("helices"), at the corners, perhaps reduced in size and importance, scrolling out above the two ranks of stylized acanthus leaves and stalks ("cauliculi" or caulicoles), eight in all, and to notice that smaller volutes scroll inwards to meet each other on each side. The leaves may be quite stiff, schematic and dry, or they may be extravagantly drilled and undercut, naturalistic and spiky. The flat abacus at the top of the capital has a concave curve on each face, and usually a single flower ("rosette") projecting from the leaves below overlaps it on each face.
When classical architecture was revived during the Renaissance, two more orders were added to the canon: the Tuscan order and the Composite order, known in Roman times, but regarded as a grand imperial variant of the Corinthian. The Corinthian has fluted columns and elaborate capitals decorated with acanthus leaves and scrolls. There are many variations.<ref name="Corinthian Columns">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>
The name Corinthian is derived from the ancient Greek city of Corinth, although it was probably invented in Athens.<ref name="Summerson, 124">Summerson, 124</ref>
DescriptionEdit
Greek Corinthian orderEdit
The Corinthian order is named for the Greek city-state of Corinth, to which it was connected in the period. However, according to the architectural historian Vitruvius, the column was created by the sculptor Callimachus, probably an Athenian, who drew acanthus leaves growing around a votive basket of toys, with a slab on top, on the grave of a Corinthian girl.<ref name="Summerson, 124"/>
Its earliest use can be traced back to the Late Classical Period (430–323 BC). The earliest Corinthian capitals, already in fragments and now lost, were found in Bassae in 1811–12; they are dated around 420 BC, and are in a temple of Apollo otherwise using the Ionic. There were three of them, carrying the frieze across the far end of the cella, which was open to the adytum. The Corinthian was probably devised to solve the awkwardness the Ionic capital created at corners by having clear and distinct front or back and side-on faces,<ref>Lawrence, 179 (Plate 80)</ref> a problem only finally solved by Vincenzo Scamozzi in the 16th century.
A simplified late version of the Greek Corinthian capital is often known as the "Tower of the Winds Corinthian" after its use on the porches of the Tower of the Winds in Athens (about 50 BC). There is a single row of acanthus leaves at the bottom of the capital, with a row of "tall, narrow leaves" behind.<ref>Lawrence, 237</ref> These cling tightly to the swelling shaft, and are sometimes described as "lotus" leaves, as well as the vague "water-leaves" and palm leaves; their similarity to leaf forms on many ancient Egyptian capitals has been remarked on.<ref>Brown, 232; Fergusson, James, The Illustrated Handbook of Architecture, Vol 2, p. 273, 1855, John Murray, google books</ref> The form is usually found in smaller columns, both ancient and modern.
Roman Corinthian orderEdit
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The style developed its own model in Roman practice, following precedents set by the Temple of Mars Ultor in the Forum of Augustus (Template:Circa).<ref>Mark Wilson Jones, "Designing the Roman Corinthian order", Journal of Roman Archaeology 2:35-69 (1989).</ref> It was employed in southern Gaul at the Maison Carrée, Nîmes and at the comparable Temple of Augustus and Livia at Vienne. Other prime examples noted by Mark Wilson Jones are the lower order of the Basilica Ulpia and the Arch of Trajan at Ancona (both of the reign of Trajan, 98–117 AD), the Column of Phocas (re-erected in Late Antiquity but 2nd century in origin), and the Temple of Bacchus at Baalbek (Template:Circa).<ref>Jones 1989.</ref>
Proportion is a defining characteristic of the Corinthian order: the "coherent integration of dimensions and ratios in accordance with the principles of symmetria" are noted by Mark Wilson Jones, who finds that the ratio of total column height to column-shaft height is in a 6:5 ratio, so that, secondarily, the full height of column with capital is often a multiple of 6 Roman feet while the column height itself is a multiple of 5. In its proportions, the Corinthian column is similar to the Ionic column, though it is more slender, and stands apart by its distinctive carved capital.<ref name="D'EpiroPinkowish2010"/>
The abacus upon the capital has concave sides to conform to the outscrolling corners of the capital, and it may have a rosette at the center of each side. Corinthian columns were erected on the top level of the Roman Colosseum, holding up the least weight, and also having the slenderest ratio of thickness to height. Their height to width ratio is about 10:1.<ref name="D'EpiroPinkowish2010">Template:Cite book</ref>
One variant is the Tivoli order, found at the Temple of Vesta, Tivoli. The Tivoli order's Corinthian capital has two rows of acanthus leaves and its abacus is decorated with oversize fleurons in the form of hibiscus flowers with pronounced spiral pistils. The column flutes have flat tops. The frieze exhibits fruit festoons suspended between bucrania. Above each festoon has a rosette over its center. The cornice does not have modillions.
Gandharan capitalsEdit
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Indo-Corinthian capitals are capitals crowning columns or pilasters, which can be found in the northwestern Indian subcontinent, and usually combine Hellenistic and Indian elements. These capitals are typically dated to the 1st centuries of our era, and constitute important elements of Greco-Buddhist art of Gandhara.
The classical design was often adapted, usually taking a more elongated form, and sometimes being combined with scrolls, generally within the context of Buddhist stupas and temples. Indo-Corinthian capitals also incorporated figures of the Buddha or Bodhisattvas, usually as central figures surrounded, and often in the shade, of the luxurious foliage of Corinthian designs.
Byzantine Empire and medieval EuropeEdit
Though the term "Corinthian" is reserved for columns and capitals that adhere fairly closely to one of the classical versions, vegetal decoration to capitals continued to be extremely common in Byzantine architecture and the various styles of the European Middle Ages, from Carolingian architecture to Romanesque architecture and Gothic architecture. There was considerable freedom in the details and the relationship between column (generally not fluted) and capital. Many types of plant were represented, sometimes realistically, as in the capitals in the chapter house at Southwell Minster in England.
Renaissance Corinthian orderEdit
During the first flush of the Italian Renaissance, the Florentine architectural theorist Francesco di Giorgio expressed the human analogies that writers who followed Vitruvius often associated with the human form, in squared drawings he made of the Corinthian capital overlaid with human heads, to show the proportions common to both.<ref>Francesco di Giorgio's sheet with the drawings, from the Turin codex Saluzziano of his Trattati di architettura ingegneria e arte militare, c. 1480–1500, is illustrated by Rudolf Wittkower, Architectural Principles in the Age of Humanism (1962) 1965, pl. ic</ref>
The Corinthian architrave is divided in two or three sections, which may be equal, or may bear interesting proportional relationships, to one with another. Above the plain, unadorned architrave lies the frieze, which may be richly carved with a continuous design or left plain, as at the U.S. Capitol extension. At the Capitol the proportions of architrave to frieze are exactly 1:1. Above that, the profiles of the cornice mouldings are like those of the Ionic order. If the cornice is very deep, it may be supported by brackets or modillions, which are ornamental brackets used in a series under a cornice.
The Corinthian column is almost always fluted, and the flutes of a Corinthian column may be enriched. They may be filleted, with rods nestled within the hollow flutes, or stop-fluted, with the rods rising a third of the way, to where the entasis begins. In French, these are called chandelles and sometimes terminate in carved wisps of flame, or with bellflowers. Alternatively, beading or chains of husks may take the place of the fillets in the fluting, Corinthian being the most flexible of the orders, with more opportunities for variation.
Elaborating upon an offhand remark when Vitruvius accounted for the origin of its acanthus capital, it became a commonplace to identify the Corinthian column with the slender figure of a young girl; in this mode the classifying French painter Nicolas Poussin wrote to his friend Fréart de Chantelou in 1642:
The beautiful girls whom you will have seen in Nîmes will not, I am sure, have delighted your spirit any less than the beautiful columns of Maison Carrée for the one is no more than an old copy of the other.<ref>Quoted by Sir Kenneth Clark, The Nude: A Study in Ideal Form, 1956, p. 45.</ref>
Sir William Chambers expressed the conventional comparison with the Doric order:
The proportions of the orders were by the ancients formed on those of the human body, and consequently, it could not be their intention to make a Corinthian column, which, as Vitruvius observes, is to represent the delicacy of a young girl, as thick and much taller than a Doric one, which is designed to represent the bulk and vigour of a muscular full grown man.<ref>Chambers, A Treatise on the Decorative Part of Civil Architecture (Joseph Gwilt ed, 1825:pp 159–61).</ref>
HistoryEdit
The oldest known example of a Corinthian column is in the Temple of Apollo Epicurius at Bassae in Arcadia, c. 450–420 BC. It is not part of the order of the temple itself, which has a Doric colonnade surrounding the temple and an Ionic order within the cella enclosure. A single Corinthian column stands free, centered within the cella. This is a mysterious feature, and archaeologists debate what this shows: some state that it is simply an example of a votive column. A few examples of Corinthian columns in Greece during the next century are all used inside temples. A more famous example, and the first documented use of the Corinthian order on the exterior of a structure, is the circular Choragic Monument of Lysicrates in Athens, erected c. 334 BC.
A Corinthian capital carefully buried in antiquity in the foundations of the circular tholos at Epidaurus was recovered during modern archaeological campaigns. Its enigmatic presence and preservation have been explained as a sculptor's model for stonemasons to follow<ref>Alison Burford (The Greek Temple Builders at Epidauros, Liverpool, 1969, p. 65) suggests instead that it was spoilt in the carving, one volute being incorrectly detached from its field; Hugh Plommer, reviewing it for The Classical Review (New Series, 21.2 [June 1971], pp 269–272), remarks that the error involved an excess of work and remains convinced that the capital was a model.</ref> in erecting the temple dedicated to Asclepius. The architectural design of the building was credited in antiquity to the sculptor Polykleitos the Younger, son of the Classical Greek sculptor Polykleitos the Elder.
The temple was erected in the 4th century BC. These capitals, in one of the most-visited sacred sites of Greece, influenced later Hellenistic and Roman designs for the Corinthian order. The concave sides of the abacus meet at a sharp keel edge, easily damaged, which in later and post-Renaissance practice has generally been replaced by a canted corner. Behind the scrolls the spreading cylindrical form of the central shaft is plainly visible.
Much later, the Roman writer Vitruvius (Template:Circa) related that the Corinthian order had been invented by Callimachus, a Greek architect and sculptor who was inspired by the sight of a votive basket that had been left on the grave of a young girl. A few of her toys were in it, and a square tile had been placed over the basket, to protect them from the weather. An acanthus plant had grown through the woven basket, mixing its spiny, deeply cut leaves with the weave of the basket.<ref>Vitr. 4.1.9-10</ref>
Claude Perrault incorporated a vignette epitomizing the Callimachus tale in his illustration of the Corinthian order for his translation of Vitruvius, published in Paris, 1684. Perrault demonstrates in his engraving how the proportions of the carved capital could be adjusted according to demands of the design, without offending. The texture and outline of Perrault's leaves is dry and tight compared to their 19th-century naturalism at the U.S. Capitol.
In Late Antique and Byzantine practice, the leaves may be blown sideways, as if by the wind of Faith. Unlike the Doric and Ionic column capitals, a Corinthian capital has no neck beneath it, just a ring-like astragal molding or a banding that forms the base of the capital, recalling the base of the legendary basket.
Most buildings (and most clients) are satisfied with just two orders. When orders are superposed one above another, as they are at the Colosseum, the natural progression is from sturdiest and plainest (Doric) at the bottom, to slenderest and richest (Corinthian) at the top. The Colosseum's topmost tier has an unusual order that came to be known as the Composite order during the 16th century. The mid-16th-century Italians, especially Sebastiano Serlio and Jacopo Barozzi da Vignola, who established a canonic version of the orders, thought they detected a "Composite order", combining the volutes of the Ionic with the foliage of the Corinthian, but in Roman practice volutes were almost always present.
In Romanesque and Gothic architecture, where the Classical system had been replaced by a new aesthetic composed of arched vaults springing from columns, the Corinthian capital was still retained. It might be severely plain, as in the typical Cistercian architecture, which encouraged no distraction from liturgy and ascetic contemplation, or in other contexts it could be treated to numerous fanciful variations, even on the capitals of a series of columns or colonettes within the same system.
During the 16th century, a sequence of engravings of the orders in architectural treatises helped standardize their details within rigid limits: Sebastiano Serlio; the Regola delli cinque ordini of Giacomo Barozzi da Vignola (1507–1573); I quattro libri dell'architettura of Andrea Palladio, and Vincenzo Scamozzi's L'idea dell'architettura universale, were followed in the 17th century by French treatises with further refined engraved models, such as Perrault's.
Notable examplesEdit
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- Argentina
- Bangladesh
- Tajhat Palace, Rangpur
- France
- Maison Carrée, Nimes
- The July Column, Paris
- Germany
- Palatine Chapel, Aachen
- The Reichstag, Berlin
- Greece
- Israel
- Italy
- Jordan
- Philippines
- Portugal
- Romania
- Russia
- Serbia
- Singapore
- South Africa
- Syria
- Ukraine
- Great Lavra Belltower (fourth tier – 8 columns)
- Independence Monument
- United Kingdom
- United States of America
- United States Capitol<ref name="Corinthian Columns"/>
- United States Supreme Court Building
- City Hall-County Building (Chicago)
- The Rotunda, University of Virginia
- New York Stock Exchange
GalleryEdit
- Xanten reconstructed composite capital.jpg
Reconstructed Corinthian capital, with original colours
- Temple of Apollo Epikourios, Bassae, details of a Corinthian isolated column in the interior.webp
Ancient Greek Corinthian columns in the Temple of Apollo at Bassae, Bassae, Greece, illustration by Charles Robert Cockerell, unknown architect, Template:Circa429-400 BC<ref>Template:Cite book</ref>
- The external face of the capital, with the entablature, and half one of the tripods - Stuart James & Revett Nicholas - 1762.jpg
Ancient Greek Corinthian order of the Choragic Monument of Lysicrates, Athens, Template:Circa335 BC
- Corinthian capital, AM of Epidauros, 202545.jpg
Ancient Greek Corinthian capital from the tholos at Epidaurus, Archaeological Museum of Epidaurus, Greece, said to have been designed by Polyclitus the Younger, Template:Circa350 BC<ref>Template:Cite book</ref>
- L'Olympieion (Athènes) (30776483926).jpg
Roman Temple of Olympian Zeus, Athens, 174 BC–Template:Circa130 AD<ref>Template:Cite book</ref>
- Les edifices antiques de Rome 1779 (138343015).jpg
Roman Corinthian capital of the Temple of Vesta, Tivoli, Italy, with an oversized fleuron (flower) on the abacus, probably a stylized hibiscus blossom with spiral pistil, compressed acanthus rows, and flutes squared at the top, rather than rounded as on a standard Corinthian column, 1st century BC
- Fig 1 The capital and entablature of the portico before the door Fig 2 A fragment of the Dentells belonging to the corni - Stuart James & Revett Nicholas - 1762.jpg
Ancient Greek Corinthian order of the Tower of the Winds, Athens, Template:Circa50 BC
- Petra detail of Al Khazneh (The treasury) 1796.jpg
Roman Corinthian capital of Al-Khazneh, Petra, Jordan, decorated with acanthuses and rinceaux, early 1st century AD
- Detail of Corner Khazneh Petra Jordan1169.jpg
Roman Corinthian pilaster in a corner of Al-Khazneh
- Buddha with monks.jpg
Group of Buddha seated between two monks, with two quasi-Corinthian pilasters that are here because of the influence of Greek culture during the Hellenistic period, 1st-3rd centuries, stone, State Museum of History of Uzbekistan, Tashkent
- Les edifices antiques de Rome 1779 (138343262).jpg
Roman Corinthian capital of the Temple of Castor and Pollux, Rome, with intertwining central stems, 1st century
- Attica 06-13 Athens 24 Arch of Hadrian.jpg
Roman Corinthian columns and pilasters of the Arch of Hadrian, Athens, 131 or 132 AD
- Jerash Artemis Temple 0841.jpg
Roman Corinthian columns from the Temple of Artemis, Jerash, Jordan, 150 AD
- Rom, Basilika Santa Sabina, Innenansicht.jpg
The Constantinian basilica of Santa Sabina interior, with spolia Corinthian columns from the Temple of Juno Regina
- Ravenna Basilica of Sant'Apollinare Nuovo capitel.jpg
Byzantine quasi-Corinthian capital in Basilica of Sant'Apollinare Nuovo, Ravenna, Italy, 6th century
- Abadía de Saint-Germain-des-Prés, París, Francia, 2022-11-01, DD 20-22 HDR.jpg
Romanesque quasi-Corinthian columns in Saint-Germain-des-Prés, Paris, 8th century, restored in the 19th century with original polychromy
- Capital with the name of the builder ‘Abd ar Raḥmān III, and of the stonemason Fatḥ, mid-10th century, marble, from Andalusia (Madīnat az-Zahrā’), Inv. no. 5053, Pergamon Museum.jpg
Islamic quasi-Corinthian capital from Andalusia (Madīnat az-Zahrā’), present-day Spain, mid-10th century, marble, Pergamon Museum, Berlin
- Tournus (71) Abbatiale Saint-Philibert - Intérieur - Chapiteau - 13.jpg
Romanesque quasi-Corinthian capital, Church of St. Philibert, Tournus, France, Template:Circa1008 to mid-11th century<ref>Template:Cite book</ref>
- Façade de la basilique Saint-André de Mantoue, réalisée par Leon Alberti.jpg
Renaissance Corinthian pilasters of the Basilica of Sant'Andrea, Mantua, Italy, Leon Battista Alberti, begun in Template:Circa1450<ref>Template:Cite book</ref>
- Sala dei gigli, capitello 01.JPG
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- Santa-Maria-dei-Miracoli Main Portal.JPG
Renaissance Corinthian pilasters of the entrance of the Santa Maria dei Miracoli, Venice, by Pietro Lombardo, 1481–1489
- Santa Maria del Popolo Presbyterium Grabmal Ascanio Sforza.JPG
Renaissance Corinthian columns of the Tomb of Ascanio Maria Sforza, Santa Maria del Popolo, Rome, by Andrea Sansovino, Template:Circa1505
- Switzerland-03129 - Kindlifresserbrunnen (23573862711).jpg
Polychrome Renaissance column of the Kindlifresserbrunnen, Bern, Switzerland, by Hans Gieng, Template:Circa1545-1546
- San Carlo alle Quattro Fontane - Dome.jpg
Baroque Corinthian column capitals in the San Carlo alle Quattro Fontane, Rome, by Francesco Borromini, 1638–1677
- Versailles Chapel - July 2006 edit.jpg
Baroque Corinthian columns in the Chapel of the Palace of Versailles, 1696–1710<ref>Template:Cite book</ref>
- ÖNB 8.jpg
Stylized Baroque Corinthian columns in the Austrian National Library, Hofburg, Vienna, Austria, designed by Johann Bernhard Fischer von Erlach in Template:Circa1716–1720, built in 1723–1726<ref>Template:Cite book</ref>
- Stavropoleos (35).jpg
Brâncovenesc Corinthian capitals of the Stavropoleos Monastery Church, Bucharest, Romania, unknown architect, 1724
- Schouw met putto Schouwen (serietitel), RP-P-1949-395-4.jpg
Rococo reinterpretations of the Corinthian order in an design for an interior, by Franz Xaver Habermann, 1731–1775, etching on paper, Rijksmuseum, Amsterdam, the Netherlands
- Altaar met God de Vader Altaren (serietitel), RP-P-1964-1453.jpg
Rococo reinterpretations of the Corinthian order in an altar design, with asymmetric capitals and more sinuous S-shaped acanthuses, by Franz Xaver Habermann, 1740–1745, etching on paper, Rijksmuseum
- Wieskirche, Gemeinde Steingaden Ortsteil Wies.JPG
Rococo reinterpretations of the Corinthian order in the Pilgrimage Church of Wies, Steingaden, Germany, by Dominikus and Johann Baptist Zimmermann, 1746-1754<ref>Template:Cite book</ref>
- BasilikaOttobeurenHochaltar02.JPG
Rococo reinterpretations of the Corinthian order at the high altar in the abbey church of Ottobeuren, Germany, by Johann Michael Fischer, 1748-1754<ref>Template:Cite book</ref>
- West facade of Petit Trianon 002.JPG
Neoclassical Corinthian columns on the Petit Trianon, Versailles, by Ange-Jacques Gabriel, 1764
- Salon des dames d'honneur du Palais impérial de Compiègne (Oise) 01.jpg
Neoclassical Corinthian pilaster in the Salon des dames d'honneur, Château de Compiègne, Compiègne, France, unknown architect, Template:Circa1810
- The moon over the Town Hall - geograph.org.uk - 2839144.jpg
Neoclassical Corinthian capitals of the Birmingham Town Hall, Birmingham, UK, inspired by those of the Temple of Castor and Pollux in Rome, by Joseph Hansom and Edward Welch, 1834
- Sturdivant Hall, Selma, Alabama LCCN2010646614.tif
Greek Revival Corinthian columns of the Sturdivant Hall, Selma, Alabama, US, inspired by those of the Tower of the Winds, by Thomas Helm Lee, 1852–1856
- CorinthOrdUsCap.jpg
The Neoclassical Corinthian order as used in extending the United States Capitol in 1854: the column's shaft has been omitted
- Paris 9 - 11 cité Malesherbes -1.JPG
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- Lyon 5e - Cimetière de Loyasse - Allée 18 - Tombe de Claude Bonnefond - Sculpture et médaillon.jpg
Neoclassical reinterpretation of the Corinthian capital at the Grave of Claude Bonnefond, Loyasse Cemetery, Lyon, France, designed by Antoine-Marie Chenavard and sculpted by Guillaume Bonnet, Template:Circa1860
- Detail of the principal facade of the Opéra Garnier, 23 March 2010.jpg
Beaux Arts Corinthian columns on the facade of the Palais Garnier, Paris, by Charles Garnier, 1861–1874<ref>Template:Cite book</ref>
- Parc des Buttes-Chaumont @ Paris (15261458609).jpg
Neoclassical Corinthian capital of the Temple de la Sibylle, Parc des Buttes Chaumont, Paris, heavily inspired by those of the Temple of Vesta in Tivoli, by Gabriel Davioud, 1866
- 2023-04-22 Parlament Säulenhalle1.jpg
Greek Revival Corinthian columns in the Austrian Parliament Building, Vienna, inspired by those of the Choragic Monument of Lysicrates, by Theophil von Hansen, 1873–1883<ref>Template:Cite book</ref>
- Austrian Parliament Building - colored sections 04.jpg
Greek Revival pilaster capitals on the facade of the Austrian Parliament Building
- Pedestal from the drawing room of the William H. Vanderbilt House MET DT5417.jpg
Pair of pedestals that reinterpret the Corinthian order (not just the capital, also the shaft), from the drawing room of the William H. Vanderbilt House, 1879–1882, Egyptian alabaster, gilt brass, and red glass jewels, Metropolitan Museum of Art, New York City
- Bowling Green NYC Feb 2021 53.jpg
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- Palace of Fine Arts-21.jpg
Beaux-Arts reinterpretation of the Corinthian order at the Rotunda of the Palace of Fine Arts, San Francisco, US, with a full figure on the capital, egg-and-dart on the astragal that is just under the capital, and two extra smaller volutes and a handle-like element on the canonic volutes of the capital corner, by Bernard Maybeck, 1913–1915
- Exhibition of Japanese Government-General Building Remains 04.JPG
Corinthian capital from the Japanese General Government Building, 1926, unknown type of stone, Independence Hall of Korea, Cheonan, South Korea
- Philadelphia Museum of Art, main building.jpg
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- PiazzaDItalia1990.jpg
Postmodern Corinthian columns of the Piazza d'Italia, New Orleans, US, by Charles Moore, 1978–1979<ref>Template:Cite book</ref>
- South Bay Galleria column, Redondo Beach, California, US, by RTKL Associates and Theo Kondos Associates, 1985.png
Postmodern neon Corinthian capital in South Bay Galleria, Redondo Beach, California, US, by RTKL Associates and Theo Kondos Associates, 1985
- Pumping station, Stewart Street (geograph 4678320).jpg
Reinterpreted Postmodern Corinthian columns of the Isle of Dogs Pumping Station, London, John Outram, 1988<ref>Template:Cite book</ref>
- Cambridge - Gonville and Caius College - 0913.jpg
New Classical Greek Revival Corinthian column in the Gonville and Caius College Hall, Cambridge, UK, inspired by the one from the Temple of Apollo at Bassaem by John Simpson, 1998
See alsoEdit
NotesEdit
ReferencesEdit
- Brown, Frank C., Study of the Orders, 2002 digital edn. (1st edn 1906), Digital Scanning Incorporated, ISBN 9781582187334, google books
- Lawrence, A. W., Greek Architecture, 1957, Penguin, Pelican history of art
- Summerson, John, The Classical Language of Architecture, 1980 edition, Thames and Hudson World of Art series, Template:ISBN