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</style><div role="note" class="hatnote navigation-not-searchable">This article is about architecture. For social order, see <a href="Social_order" title="Social order">Social order</a>.</div>

<p>An <b>order</b> in <a href="Architecture" title="Architecture">architecture</a> is a certain assemblage of parts subject to uniform established proportions, regulated by the office that each part has to perform.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

Coming down to the present from <a href="Ancient_Greece" title="Ancient Greece">Ancient Greek</a> and <a href="Ancient_Roman" class="mw-redirect" title="Ancient Roman">Ancient Roman</a> civilization, the <b>architectural orders</b> are the styles of <a href="Classical_architecture" title="Classical architecture">classical architecture</a>, each distinguished by its proportions and characteristic profiles and details, and most readily recognizable by the type of <a href="Column" title="Column">column</a> employed. The three orders of architecture—the <a href="Doric_order" title="Doric order">Doric</a>, <a href="Ionic_order" title="Ionic order">Ionic</a>, and <a href="Corinthian_order" title="Corinthian order">Corinthian</a>—originated in Greece. To these the Romans added, in practice if not in name, the <a href="Tuscan_order" title="Tuscan order">Tuscan</a>, which they made simpler than Doric, and the <a href="Composite_order" title="Composite order">Composite</a>, which was more ornamental than the Corinthian. The architectural order of a classical building is akin to the <a href="Musical_mode" class="mw-redirect" title="Musical mode">mode</a> or <a href="Key_(music)" title="Key (music)">key</a> of <a href="Classical_music" title="Classical music">classical music</a>; the <a href="Grammar" title="Grammar">grammar</a> or <a href="Rhetoric" title="Rhetoric">rhetoric</a> of a written composition. It is established by certain <i>modules</i> like the <a href="Interval_(music)" title="Interval (music)">intervals</a> of music, and it raises certain expectations in an audience attuned to its language.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup>

</p><p>

Whereas the orders were essentially structural in <a href="Ancient_Greek_architecture" title="Ancient Greek architecture">Ancient Greek architecture</a>, which made little use of the arch until its late period, in <a href="Roman_architecture" class="mw-redirect" title="Roman architecture">Roman architecture</a> where the arch was often dominant, the orders became increasingly decorative elements except in <a href="Portico" title="Portico">porticos</a> and similar uses. Columns shrank into half-columns emerging from walls or turned into <a href="Pilaster" title="Pilaster">pilasters</a>. This treatment continued after the conscious and "correct" use of the orders, initially following exclusively Roman models, returned in the <a href="Italian_Renaissance" title="Italian Renaissance">Italian Renaissance</a>.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> <a href="Greek_Revival_architecture" title="Greek Revival architecture">Greek Revival architecture</a>, inspired by increasing knowledge of Greek originals, returned to more authentic models, including ones from relatively early periods.</p>

<div class="mw-heading mw-heading2"><h2 id="Elements">Elements</h2></div>

<p>Each style has distinctive <a href="Capital_(architecture)" title="Capital (architecture)">capitals</a> at the top of columns and horizontal <a href="Entablature" title="Entablature">entablatures</a> which it supports, while the rest of the building does not in itself vary between the orders. The column shaft and base also varies with the order, and is sometimes articulated with vertical concave grooves known as <a href="Fluting_(architecture)" title="Fluting (architecture)">fluting</a>. The shaft is wider at the bottom than at the top, because its <a href="Entasis" title="Entasis">entasis</a>, beginning a third of the way up, imperceptibly makes the column slightly more slender at the top, although some Doric columns, especially early Greek ones, are visibly "flared", with straight profiles that narrow going up the shaft.

</p><p>The capital rests on the shaft. It has a load-bearing function, which concentrates the weight of the entablature on the supportive column, but it primarily serves an aesthetic purpose. The necking is the continuation of the shaft, but is visually separated by one or many grooves. The <a href="Molding_(decorative)" title="Molding (decorative)">echinus</a> lies atop the necking. It is a circular block that bulges outwards towards the top to support the <a href="Abacus_(architecture)" title="Abacus (architecture)">abacus</a>, which is a square or shaped block that in turn supports the entablature. The entablature consists of three horizontal layers, all of which are visually separated from each other using moldings or bands. In Roman and post-Renaissance work, the entablature may be carried from column to column in the form of an <a href="Arch" title="Arch">arch</a> that springs from the column that bears its weight, retaining its divisions and sculptural enrichment, if any. There are names for all the many parts of the orders.

</p>

<div class="mw-heading mw-heading2"><h2 id="Measurement">Measurement</h2></div>

<p>The heights of columns are calculated in terms of a ratio between the diameter of the shaft at its base and the height of the column. A Doric column can be described as seven diameters high, an Ionic column as eight diameters high, and a Corinthian column nine diameters high, although the actual ratios used vary considerably in both ancient and revived examples, but still keeping to the trend of increasing slimness between the orders. Sometimes this is phrased as "lower diameters high", to establish which part of the shaft has been measured.

</p>

<div class="mw-heading mw-heading2"><h2 id="Greek_orders">Greek orders</h2></div>

<p>There are three distinct orders in Ancient Greek architecture: Doric, Ionic, and Corinthian. These three were adopted by the Romans, who modified their capitals. The Roman adoption of the Greek orders took place in the 1st century BC. The three ancient Greek orders have since been consistently used in European <a href="Neoclassical_architecture" title="Neoclassical architecture">Neoclassical architecture</a>.

</p><p>Sometimes the Doric order is considered the earliest order, but there is no evidence to support this. Rather, the Doric and Ionic orders seem to have appeared at around the same time, the Ionic in eastern Greece and the Doric in the west and mainland.

</p><p>Both the Doric and the Ionic order appear to have originated in wood. The <a href="Temple_of_Hera_(Olympia)" class="mw-redirect" title="Temple of Hera (Olympia)">Temple of Hera</a> in Olympia is the oldest well-preserved temple of Doric architecture. It was built just after 600 BC. The Doric order later spread across Greece and into <a href="Sicily" title="Sicily">Sicily</a>, where it was the chief order for monumental architecture for 800 years. Early Greeks were no doubt aware of the use of stone columns with bases and capitals in <a href="Ancient_Egyptian_architecture" title="Ancient Egyptian architecture">ancient Egyptian architecture</a>, and that of other Near Eastern cultures, although there they were mostly used in interiors, rather than as a dominant feature of all or part of exteriors, in the Greek style.

</p>

<div class="mw-heading mw-heading3"><h3 id="Doric_order">Doric order</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Doric_order" title="Doric order">Doric order</a></div>

<p>The Doric order originated on the mainland and western <a href="Greece" title="Greece">Greece</a>. It is the simplest of the orders, characterized by short, organized, heavy columns with plain, round <a href="Capital_(architecture)" title="Capital (architecture)">capitals</a> (tops) and no base. With a height that is only four to eight times its diameter, the columns are the most squat of all orders. The shaft of the Doric order is channeled with 20 flutes. The capital consists of a necking or <a href="Annulet_(architecture)" title="Annulet (architecture)">annulet</a>, which is a simple ring. The echinus is convex, or circular cushion like stone, and the <a href="Abacus_(architecture)" title="Abacus (architecture)">abacus</a> is a square slab of stone.

</p><p>Above the capital is a square abacus connecting the capital to the entablature. The entablature is divided into three horizontal registers, the lower part of which is either smooth or divided by horizontal lines. The upper half is distinctive for the Doric order. The frieze of the Doric entablature is divided into <a href="Triglyph" title="Triglyph">triglyphs</a> and <a href="Metope_(architecture)" class="mw-redirect" title="Metope (architecture)">metopes</a>. A triglyph is a unit consisting of three vertical bands which are separated by grooves. Metopes are the plain or carved reliefs between two triglyphs.

</p><p>

The Greek forms of the Doric order come without an individual base. They instead are placed directly on the <a href="Stylobate" title="Stylobate">stylobate</a>. Later forms, however, came with the conventional base consisting of a plinth and a torus. The Roman versions of the Doric order have smaller proportions. As a result, they appear lighter than the Greek orders.</p>

<div class="mw-heading mw-heading3"><h3 id="Ionic_order">Ionic order</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Ionic_order" title="Ionic order">Ionic order</a></div>

<p>The Ionic order came from eastern Greece, where its origins are entwined with the similar but little known <a href="Aeolic_order" title="Aeolic order">Aeolic order</a>. It is distinguished by slender, fluted <a href="Column" title="Column">pillars</a> with a large base and two opposed <a href="Volute" title="Volute">volutes</a> (also called "scrolls") in the echinus of the capital. The echinus itself is decorated with an <a href="Egg-and-dart" title="Egg-and-dart">egg-and-dart</a> <a href="Motif_(visual_arts)" title="Motif (visual arts)">motif</a>. The Ionic shaft comes with four more flutes than the Doric counterpart (totalling 24). The Ionic base has two convex moldings called <i>tori</i>, which are separated by a scotia.

</p><p>

The Ionic order is also marked by an <a href="Entasis" title="Entasis">entasis</a>, a curved tapering in the column shaft. A column of the Ionic order is nine times more tall than its lower diameter. The shaft itself is eight diameters high. The architrave of the entablature commonly consists of three stepped bands (<i>fasciae</i>). The frieze comes without the Doric triglyph and metope. The frieze sometimes comes with a continuous ornament such as carved figures instead.</p>

<div class="mw-heading mw-heading3"><h3 id="Corinthian_order">Corinthian order</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Corinthian_order" title="Corinthian order">Corinthian order</a></div>

<p>The Corinthian order is the most elaborated of the Greek orders, characterized by a slender fluted column having an ornate capital decorated with two rows of <a href="Acanthus_(ornament)" title="Acanthus (ornament)">acanthus leaves</a> and four scrolls. The shaft of the Corinthian order has 24 flutes. The column is commonly ten diameters high.

</p><p>The Roman writer <a href="Vitruvius" title="Vitruvius">Vitruvius</a> <a href="Callimachus_(sculptor)#Architecture" title="Callimachus (sculptor)">credited</a> the invention of the Corinthian order to <a href="Callimachus_(sculptor)" title="Callimachus (sculptor)">Callimachus</a>, a Greek <a href="Sculpture" title="Sculpture">sculptor</a> of the 5th century BC. The oldest known building built according to this order is the <a href="Choragic_Monument_of_Lysicrates" title="Choragic Monument of Lysicrates">Choragic Monument of Lysicrates</a> in Athens, constructed from 335 to 334 BC. The Corinthian order was raised to rank by the writings of Vitruvius in the 1st century BC.

</p>

<div class="mw-heading mw-heading2"><h2 id="Roman_orders">Roman orders</h2></div>

<p>The Romans adapted all the Greek orders and also developed two orders of their own, basically modifications of Greek orders. However, it was not until the <a href="Renaissance" title="Renaissance">Renaissance</a> that these were named and formalized as the <a href="Tuscan_order" title="Tuscan order">Tuscan</a> and <a href="Composite_order" title="Composite order">Composite</a>, respectively the plainest and most ornate of the orders. The Romans also invented the <a href="Superposed_order" title="Superposed order">Superposed order</a>. A superposed order is when successive stories of a building have different orders. The heaviest orders were at the bottom, whilst the lightest came at the top. This means that the Doric order was the order of the ground floor, the Ionic order was used for the middle story, while the Corinthian or the Composite order was used for the top story.

</p><p>The <a href="Giant_order" title="Giant order">Giant order</a> was invented by <a href="Renaissance_architecture" title="Renaissance architecture">architects in the Renaissance</a>. The Giant order is characterized by columns that extend the height of two or more stories.

</p>

<div class="mw-heading mw-heading3"><h3 id="Tuscan_order">Tuscan order</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Tuscan_order" title="Tuscan order">Tuscan order</a></div><p>

The Tuscan order has a very plain design, with a plain shaft, and a simple capital, base, and frieze. It is a simplified adaptation of the Greeks' Doric order. The Tuscan order is characterized by an unfluted shaft and a capital that consists of only an echinus and an abacus. In proportions it is similar to the Doric order, but overall it is significantly plainer. The column is normally seven diameters high. Compared to the other orders, the Tuscan order looks the most solid.</p>

<div class="mw-heading mw-heading3"><h3 id="Composite_order">Composite order</h3></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="Composite_order" title="Composite order">Composite order</a></div>

<p>The Composite order is a mixed order, combining the volutes of the Ionic with the leaves of the Corinthian order. Until the Renaissance it was not ranked as a separate order. Instead it was considered as a late Roman form of the Corinthian order. The column of the Composite order is typically ten diameters high.

</p>

<div class="mw-heading mw-heading2"><h2 id="Historical_development">Historical development</h2></div>

<p>The <a href="Renaissance_architecture" title="Renaissance architecture">Renaissance</a> period saw renewed interest in the literary sources of the ancient cultures of Greece and Rome, and the fertile development of a new architecture based on classical principles. The treatise <span title="Latin-language text"><i lang="la"><a href="De_architectura" title="De architectura">De architectura</a></i></span> by Roman theoretician, architect and engineer <a href="Vitruvius" title="Vitruvius">Vitruvius</a>, is the only architectural writing that survived from Antiquity. Effectively rediscovered in the 15th century, <a href="De_architectura#Survival_and_rediscovery" title="De architectura">Vitruvius came to be regarded</a> as the ultimate authority on architecture. However, in his text the word <i>order</i> is not to be found. To describe the four species of columns (he only mentions: Tuscan, Doric, Ionic and Corinthian) he uses, in fact, various words such as: <i>genus</i> (gender), <i>mos</i> (habit, fashion, manner), <i>opera</i> (work).

</p>

<p>The term <i>order</i>, as well as the idea of redefining the <i>canon</i> started circulating in Rome, at the beginning of the 16th century, probably during the studies of Vitruvius' text conducted and shared by <a href="Baldassare_Peruzzi" title="Baldassare Peruzzi">Peruzzi</a>, <a href="Raphael" title="Raphael">Raphael</a>, and Sangallo.<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

Ever since, the definition of the <i>canon</i> has been a collective endeavor that involved several generations of European architects, from Renaissance and Baroque periods, basing their theories both on the study of Vitruvius' writings and the observation of Roman ruins (the Greek ruins became available only after Greek Independence, 1821–1823). What was added were rules for the use of the Architectural Orders, and the exact proportions of them in minute detail. Commentary on the appropriateness of the orders for temples devoted to particular deities (Vitruvius I.2.5) were elaborated by Renaissance theorists, with Doric characterized as bold and manly, Ionic as matronly, and Corinthian as maidenly.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading2"><h2 id="Vignola_defining_the_concept_of_"order"">Vignola defining the concept of "order"</h2></div>

<div role="note" class="hatnote navigation-not-searchable">Main article: <a href="The_Five_Orders_of_Architecture" title="The Five Orders of Architecture">The Five Orders of Architecture</a></div>

<p>Following the examples of Vitruvius and the five books of the <i>Regole generali di architettura sopra le cinque maniere de gli edifici</i> by <a href="Sebastiano_Serlio" title="Sebastiano Serlio">Sebastiano Serlio</a> published from 1537 onwards, <a href="Giacomo_Barozzi_da_Vignola" title="Giacomo Barozzi da Vignola">Giacomo Barozzi da Vignola</a> produced an architecture rule book that was not only more practical than the previous two treatises, but also was systematically and consistently adopting, for the first time, the term 'order' to define each of the five different species of columns inherited from antiquity. A first publication of the various plates, as separate sheets, appeared in Rome in 1562, with the title: <i>Regola delli cinque ordini d'architettura</i> ("Canon of the Five Orders of Architecture").<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> As David Watkin has pointed out, Vignola's book "was to have an astonishing publishing history of over 500 editions in 400 years in ten languages, Italian, Dutch, English, Flemish, French, German, Portuguese, Russian, Spanish, Swedish, during which it became perhaps the most influential book of all times".<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup>

</p><p>The book consisted simply of an introduction followed by 32 annotated plates, highlighting the proportional system with all the minute details of the Five Architectural Orders. According to Christof Thoenes, the main expert of Renaissance architectural treatises, "in accordance with Vitruvius's example, Vignola chose a "module" equal to a half-diameter which is the base of the system. All the other measurements are expressed in fractions or in multiples of this module. The result is an arithmetical model, and with its help each order, harmoniously proportioned, can easily be adapted to any given height, of a façade or an interior. From this point of view, Vignola's Regola is a remarkable intellectual achievement".<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup>

</p><p>In America, <i>The American Builder's Companion</i>,<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> written in the early 19th century by the architect <a href="Asher_Benjamin" title="Asher Benjamin">Asher Benjamin</a>, influenced many builders in the eastern states, particularly those who developed what became known as the <a href="Federal_architecture" title="Federal architecture">Federal style</a>. The last American re-interpretation of Vignola's <i>Regola</i>, was edited in 1904 by William Robert Ware.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>

</p><p>The break from the classical mode came first with the <a href="Gothic_Revival_architecture" title="Gothic Revival architecture">Gothic Revival architecture</a>, then the development of modernism during the 19th century. The <a href="Bauhaus" title="Bauhaus">Bauhaus</a> promoted pure functionalism, stripped of ornament considered superfluous, and that has become one of the defining characteristics of <a href="Modern_architecture" title="Modern architecture">modern architecture</a>. There are some exceptions. <a href="Postmodern_architecture" title="Postmodern architecture">Postmodernism</a> introduced an ironic use of the orders as a cultural reference, divorced from the strict rules of composition. On the other hand, a number of practitioners such as <a href="Quinlan_Terry" title="Quinlan Terry">Quinlan Terry</a> in England, and <a href="Michael_Middleton_Dwyer" class="mw-redirect" title="Michael Middleton Dwyer">Michael Dwyer</a>, <a href="Richard_Sammons" title="Richard Sammons">Richard Sammons</a>, and <a href="Duncan_Stroik" class="mw-redirect" title="Duncan Stroik">Duncan Stroik</a> in the United States, continue the classical tradition, and use the classical orders in their work.

</p>

<div class="mw-heading mw-heading2"><h2 id="Nonce_orders">Nonce orders</h2></div>

<p>Several orders, usually based upon the composite order and only varying in the design of the capitals, have been invented under the inspiration of specific occasions, but have not been used again. They are termed "<i>nonce orders</i>" by analogy to <i><a href="Nonce_word" title="Nonce word">nonce words</a></i>; several examples follow below.

</p><p>These nonce orders all express the "speaking architecture" (<i><a href="Architecture_parlante" title="Architecture parlante">architecture parlante</a></i>) that was taught in the Paris courses, most explicitly by <a href="%C3%89tienne-Louis_Boull%C3%A9e" title="Étienne-Louis Boullée">Étienne-Louis Boullée</a>, in which sculptural details of classical architecture could be enlisted to speak symbolically, the better to express the purpose of the structure and enrich its visual meaning with specific appropriateness. This idea was taken up strongly in the training of <a href="Beaux-Arts_architecture" title="Beaux-Arts architecture">Beaux-Arts architecture</a>, <abbr title="circa">c.</abbr><span style="white-space:nowrap;"> 1875–1915</span>.

</p>

<div class="mw-heading mw-heading3"><h3 id="French_order">French order</h3></div>

<p>The <a href="Hall_of_Mirrors" title="Hall of Mirrors">Hall of Mirrors</a> in the <a href="Palace_of_Versailles" title="Palace of Versailles">Palace of Versailles</a> contains pilasters with bronze capitals in the "French order". Designed by <a href="Charles_Le_Brun" title="Charles Le Brun">Charles Le Brun</a>, the capitals display the national emblems of the <a href="Kingdom_of_France" title="Kingdom of France">Kingdom of France</a>: the royal sun between two <a href="Gallic_rooster" title="Gallic rooster">Gallic roosters</a> above a <a href="Fleur-de-lis" title="Fleur-de-lis">fleur-de-lis</a>.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup>

</p>

<div class="mw-heading mw-heading3"><h3 id="British_orders">British orders</h3></div>

<p><a href="Robert_Adam" title="Robert Adam">Robert Adam</a>'s brother <a href="James_Adam_(architect)" title="James Adam (architect)">James</a> was in Rome in 1762, drawing antiquities under the direction of <a href="Charles-Louis_Cl%C3%A9risseau" title="Charles-Louis Clérisseau">Clérisseau</a>; he invented a "British order" and published an engraving of it. Its capital the heraldic lion and unicorn take the place of the Composite's volutes, a Byzantine or Romanesque conception, but expressed in terms of neoclassical realism. Adam's ink-and-wash rendering with red highlighting is at the <a href="Avery_Architectural_and_Fine_Arts_Library" title="Avery Architectural and Fine Arts Library">Avery Library</a>, <a href="Columbia_University" title="Columbia University">Columbia University</a>.

</p><p>In 1789 <a href="George_Dance_the_Younger" title="George Dance the Younger">George Dance</a> invented an <a href="Ammonite_order" title="Ammonite order">Ammonite order</a>, a variant of Ionic, substituting volutes in the form of <a href="Fossil" title="Fossil">fossil</a> <a href="Ammonite" class="mw-redirect" title="Ammonite">ammonites</a> for <a href="John_Boydell" title="John Boydell">John Boydell</a>'s <a href="Boydell_Shakespeare_Gallery" title="Boydell Shakespeare Gallery">Shakespeare Gallery</a> in <a href="Pall_Mall%2C_London" title="Pall Mall, London">Pall Mall, London</a>.<sup id="cite_ref-oxford22_12-0" class="reference"><a href="#cite_note-oxford22-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup>

</p><p>An adaptation of the Corinthian order by <a href="William_Donthorne" class="mw-redirect" title="William Donthorne">William Donthorne</a> that used turnip leaves and <a href="Mangelwurzel" title="Mangelwurzel">mangelwurzel</a> is termed the Agricultural order.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup>

</p><p><a href="Sir_Edwin_Lutyens" class="mw-redirect" title="Sir Edwin Lutyens">Sir Edwin Lutyens</a>, who from 1912 laid out <a href="New_Delhi" title="New Delhi">New Delhi</a> as the new seat of government for the <a href="British_Empire_in_India" class="mw-redirect" title="British Empire in India">British Empire in India</a>,<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> designed a Delhi order having a capital displaying a band of vertical ridges, and with bells hanging at each corner as a replacement for volutes.<sup id="cite_ref-Gradidge151_16-0" class="reference"><a href="#cite_note-Gradidge151-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> His design for the new city's central palace, Viceroy's House, now the Presidential residence <a href="Rashtrapati_Bhavan" title="Rashtrapati Bhavan">Rashtrapati Bhavan</a>, was a thorough integration of elements of <a href="Indian_architecture" class="mw-redirect" title="Indian architecture">Indian architecture</a> into a building of classical forms and proportions,<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> and made use of the order throughout.<sup id="cite_ref-Gradidge151_16-1" class="reference"><a href="#cite_note-Gradidge151-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> The Delhi Order reappears in some later Lutyens buildings including <a href="Campion_Hall%2C_Oxford" title="Campion Hall, Oxford">Campion Hall, Oxford</a>.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup>

</p>

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</style><table class="infobox" style="width: 210px; clear: left; float:left;margin:0 1.5em 1.5em 0;"><tbody><tr><th colspan="2" class="infobox-above" style="font-size:115%">External videos</th></tr><tr><td colspan="2" class="infobox-full-data" style="text-align: left"><span typeof="mw:File"><span></span></span> <a rel="nofollow" class="external text" href="https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/beginners-guide-greece/v/the-classical-orders">The Classical orders</a> – a Smarthistory video.</td></tr></tbody></table>

<div class="mw-heading mw-heading3"><h3 id="American_orders">American orders</h3></div>

<p>In the United States <a href="Benjamin_Latrobe" class="mw-redirect" title="Benjamin Latrobe">Benjamin Latrobe</a>, the architect of the <a href="United_States_Capitol" title="United States Capitol">Capitol building</a> in Washington, DC, designed a series of botanical American orders. Most famous is the Corinthian order substituting ears of corn and their husks for the acanthus leaves, which was executed by Giuseppe Franzoni and used in the small domed vestibule of the Senate. Only this vestibule survived the <a href="Burning_of_Washington" title="Burning of Washington">Burning of Washington</a> in 1814, nearly intact.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup>

</p><p>With peace restored, Latrobe designed an American order that substituted tobacco leaves for the acanthus, of which he sent a sketch to <a href="Thomas_Jefferson" title="Thomas Jefferson">Thomas Jefferson</a> in a letter, 5 November 1816. He was encouraged to send a model of it, which remains at <a href="Monticello" title="Monticello">Monticello</a>. In the 1830s <a href="Alexander_Jackson_Davis" title="Alexander Jackson Davis">Alexander Jackson Davis</a> admired it enough to make a drawing of it. In 1809 Latrobe invented a second American order, employing <a href="Magnolia" title="Magnolia">magnolia</a> flowers constrained within the profile of classical mouldings, as his drawing demonstrates. It was intended for "the Upper Columns in the Gallery of the Entrance of the Chamber of the Senate".<sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup>

</p>

<ul><li><a href="Greek_temple" class="mw-redirect" title="Greek temple">Greek temple</a></li>

<li><a href="Roman_temple" title="Roman temple">Roman temple</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2></div>

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</style><cite id="CITEREFGwilt1842" class="citation book cs1">Gwilt, Joseph (1842). <a rel="nofollow" class="external text" href="https://archive.org/details/anencyclopdiaar00gwilgoog"><i>An Encyclopædia of Architecture: Historical, Theoretical, and Practical</i></a>. London: Longman, Brown, Green, and Longmans. pp. <a rel="nofollow" class="external text" href="https://archive.org/details/anencyclopdiaar00gwilgoog/page/n695">680</a>. <q>An order in architecture is a certain assemblage of parts subject to uniform established proportions, regulated by the office that each part has to perform.</q></cite></span>

</li>

<li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">Summerson, pp. 7–15</span>

</li>

<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Summerson, pp. 19–21</span>

</li>

<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">H. Burns and H. Gunthers, <i>24éme Colloque International d'Etude Humanistes</i>, Tours 1981</span>

</li>

<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text"><cite id="CITEREFSmall" class="citation web cs1">Small, Julian. <a rel="nofollow" class="external text" href="http://sites.scran.ac.uk/ada/documents/general/orders/classical_orders.htm">"Classical Orders"</a>. <i>sites.scran.ac.uk</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2023-08-12</span></span>.</cite></span>

</li>

<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">The most recent English translation is the one, with an introduction and commentary by Branko Mitrovic, New York. 1999</span>

</li>

<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">David Watkin, Introduction to the <i>Canon of the Five Orders of Architecture</i>, translated by John Leeke, reprint of the 1699 edition, New York, 2011</span>

</li>

<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://architectura.cesr.univ-tours.fr/traite/Notice/ENSBA_LES64.asp?param=en">"Architectura – Les livres d'Architecture"</a>.</cite></span>

</li>

<li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text"><cite id="CITEREFBenjamin1827" class="citation book cs1">Benjamin, Asher (1827). <i>The American Builder's Companion: Or, a System of Architecture Particularly Adapted to the Present Style of Building</i>. Dover Publications. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-486-22236-3</bdi>.</cite> <span class="cs1-hidden-error citation-comment"><code class="cs1-code">{{cite book}}</code>: </span><span class="cs1-hidden-error citation-comment">ISBN / Date incompatibility (help)</span></span>

</li>

<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text"><cite id="CITEREFWare1994" class="citation book cs1">Ware, William R. (1994). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=nV3eiQFnwyAC"><i>The American Vignola: a guide to the making of classical architecture</i></a>. Courier Dover Publications. p. 160. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-486-28310-4</bdi>.</cite></span>

</li>

<li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Fouin, Christophe, et al. (2016). <i>Le Château de Versailles. Vu par ses photographes</i>. Paris: Albin Michel. p. 83. ISBN 9782226321428.</span>

</li>

<li id="cite_note-oxford22-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-oxford22_12-0">^</a></b></span> <span class="reference-text"><cite id="CITEREFCurlWilson2016" class="citation book cs1">Curl, James Stevens; Wilson, Susan (2016). <i>Oxford Dictionary of Architecture</i>. Oxford University Press. p. 22. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-19-967499-2</bdi>.</cite></span>

</li>

</li>

</li>

<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><cite id="CITEREFGradidge1981" class="citation book cs1">Gradidge, Roderick (1981). <i>Edwin Lutyens: Architect Laureate</i>. London, UK: George Allen and Unwin. p. 69. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-04-720023-5</bdi>.</cite></span>

</li>

<li id="cite_note-Gradidge151-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-Gradidge151_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Gradidge151_16-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFGradidge1981" class="citation book cs1">Gradidge, Roderick (1981). <i>Edwin Lutyens: Architect Laureate</i>. London: George Allen and Unwin. p. 151. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-04-720023-5</bdi>.</cite></span>

</li>

<li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><cite id="CITEREFWilhide2012" class="citation book cs1">Wilhide, Elizabeth (2012). <i>Sir Edwin Lutyens: Designing in the English tradition</i>. London: National Trust Books. pp. <span class="nowrap">41–</span>42. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9781907892271</bdi>.</cite></span>

</li>

<li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><cite id="CITEREFGradidge1981" class="citation book cs1">Gradidge, Roderick (1981). <i>Edwin Lutyens: Architect Laureate</i>. London: George Allen and Unwin. p. 161. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-04-720023-5</bdi>.</cite></span>

</li>

<li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.cbsnews.com/news/the-1814-burning-of-washington-d-c/">"The 1814 burning of Washington, D.C."</a> <i>www.cbsnews.com</i>. 31 August 2014<span class="reference-accessdate">. Retrieved <span class="nowrap">2022-12-21</span></span>.</cite></span>

</li>

<li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20170715102824/https://www.loc.gov/exhibits/us.capitol/s4.html">"United States Capitol exhibit"</a>. <i><a href="Library_of_Congress" title="Library of Congress">Library of Congress</a></i>. Archived from <a rel="nofollow" class="external text" href="https://www.loc.gov/exhibits/us.capitol/s4.html">the original</a> on 2017-07-15<span class="reference-accessdate">. Retrieved <span class="nowrap">2017-12-29</span></span>.</cite></span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="References">References</h2></div>

<ul><li><a href="John_Summerson" title="John Summerson">Summerson, John</a>, <i><a href="The_Classical_Language_of_Architecture" title="The Classical Language of Architecture">The Classical Language of Architecture</a></i>, 1980 edition, <a href="Thames_and_Hudson" class="mw-redirect" title="Thames and Hudson">Thames and Hudson</a> <i>World of Art</i> series, <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0500201773</bdi></li>

<li>Frédérique Lemerle et Yves Pauwels (dir.), <i>Histoires d’ordres: le langage européen de l’architecture</i>, Turhout, Brepols, 2021</li></ul>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

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<ul><li>Barletta, Barbara A., <i>The Origins of the Greek Architectural Orders</i> (Cambridge University Press) 2001</li>

<li>Barozzi da Vignola, Giacomo, <i>Canon of the Five Orders</i>, Translated into English, with an introduction and commentary by Branko Mitrovic, Acanthus Press, New York, 1999</li>

<li>Barozzi da Vignola, Giacomo, <i>Canon of the Five Orders</i>, Translated by John Leeke (1669), with an introduction by David Watkin, Dover Publications, New York, 2011</li>

<li><cite id="CITEREFChitham2004" class="citation book cs1"><a href="Robert_Chitham" title="Robert Chitham">Chitham, Robert</a> (2004). <i>The Classical Orders of Architecture</i> (2nd ed.). London: Routledge. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9780080470573</bdi>.</cite></li>

<li><cite id="CITEREFJames_Stevens_Curl2003" class="citation book cs1">James Stevens Curl (2003). <i>Classical Architecture: An Introduction to Its Vocabulary and Essentials, With a Select Glossary of Terms</i>. W. W. Norton & Company. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-393-73119-4</bdi>.</cite></li>

<li><cite id="CITEREFJohn_Newenham_Summerson1963" class="citation book cs1">John Newenham Summerson (1963). <i>The Classical Language of Architecture</i>. The MIT Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-262-69012-6</bdi>.</cite> <span class="cs1-hidden-error citation-comment"><code class="cs1-code">{{cite book}}</code>: </span><span class="cs1-hidden-error citation-comment">ISBN / Date incompatibility (help)</span></li>

<li><cite id="CITEREFTzonisLefaivre1986" class="citation book cs1">Tzonis, Alexander; Lefaivre, Liane (1986). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/classicalarchite00tzon_0"><i>Classical architecture: the poetics of order</i></a></span>. The MIT Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-262-70031-3</bdi>.</cite></li>

<li><cite id="CITEREFGromort2001" class="citation book cs1">Gromort, Georges (2001). <a rel="nofollow" class="external text" href="http://www.books-by-isbn.com/0-393/0393730514-The-Elements-of-Classical-Architecture-Georges-Gromort-Henry-Hope-Reed-0-393-73051-4.html"><i>The Elements of Classical Architecture</i></a>. W. W. Norton & Company. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-0-393-73051-7</bdi>.</cite></li>

<li><a rel="nofollow" class="external text" href="http://www.institute-of-traditional-architecture.org/self-study/classical-elements/">Classical orders and elements</a></li>

<li><cite id="CITEREFSpiers1911" class="citation encyclopaedia cs1">Spiers, Richard Phené (1911). <span class="cs1-ws-icon" title="s:1911 Encyclopædia Britannica/Order (architecture)"><a class="external text external" href="https://en.wikisource.org/wiki/1911_Encyclop%C3%A6dia_Britannica/Order_(architecture)">"Order" </a></span>. <i><a href="Encyclop%C3%A6dia_Britannica_Eleventh_Edition" title="Encyclopædia Britannica Eleventh Edition">Encyclopædia Britannica</a></i>. Vol. 20 (11th ed.). pp. <span class="nowrap">176–</span>183.</cite></li></ul>

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</style><div id="Classical_orders_and_other_columns88" style="font-size:114%;margin:0 4em"> and other <a href="Column" title="Column">columns</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Greco-Roman orders</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Doric_order" title="Doric order">Doric</a></li>

<li><a href="Ionic_order" title="Ionic order">Ionic</a></li>

<li><a href="Corinthian_order" title="Corinthian order">Corinthian</a></li>

<li><a href="Tuscan_order" title="Tuscan order">Tuscan</a></li>

<li><a href="Composite_order" title="Composite order">Composite</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other orders</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Aeolic_order" title="Aeolic order">Aeolic</a></li>

<li><a href="Ammonite_order" title="Ammonite order">Ammonite</a></li>

<li><a href="Giant_order" title="Giant order">Giant</a></li>

<li><a href="Nonce_order" class="mw-redirect" title="Nonce order">Nonce</a></li>

<li><a href="Superposed_order" title="Superposed order">Superposed</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Caryatid" title="Caryatid">Caryatid</a></li>

<li><a href="Colonnade" title="Colonnade">Colonnade</a></li>

<li><a href="Concatenation_(architecture)" title="Concatenation (architecture)">Concatenation</a></li>

<li><a href="Coupled_column" title="Coupled column">Coupled column</a></li>

<li><a href="Ancient_Egyptian_architecture#Columns" title="Ancient Egyptian architecture">Egyptian column</a></li>

<li><a href="Engaged_column" title="Engaged column">Engaged column</a></li>

<li><a href="Estipite" title="Estipite">Estipite</a></li>

<li><a href="Intercolumniation" title="Intercolumniation">Intercolumniation</a></li>

<li><a href="Knotted_column" title="Knotted column">Knotted column</a></li>

<li><a href="Marian_and_Holy_Trinity_columns" title="Marian and Holy Trinity columns">Marian column</a></li>

<li><a href="Persian_column" title="Persian column">Persian column</a></li>

<ul><li><a href="Compound_pier" title="Compound pier">Compound pier</a></li></ul></li>

<li><a href="Pilaster" title="Pilaster">Pilaster</a></li>

<li><a href="Piloti" title="Piloti">Piloti</a></li>

<li><a href="Pulvino" title="Pulvino">Pulvino</a></li>

<li><a href="John_Outram#Cambridge_Judge_Business_School,_1995" title="John Outram">Robot order</a></li>

<li><a href="Solomonic_column" title="Solomonic column">Solomonic column</a></li>

<li><a href="Waterleaf_(architecture)" title="Waterleaf (architecture)">Waterleaf</a></li></ul>

</div></td></tr></tbody></table></div>

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</style></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q217175#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata1045" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q217175#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata1045" style="font-size:114%;margin:0 4em">Authority control databases </div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4130741-0">Germany</a></span></li><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="Architecture--Orders"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/sh85006632">United States</a></span></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://catalogue.bnf.fr/ark:/12148/cb12221915z">France</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://data.bnf.fr/ark:/12148/cb12221915z">BnF data</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.nli.org.il/en/authorities/987007294823005171">Israel</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://lux.collections.yale.edu/view/concept/efbc48bd-b7d8-4653-bf07-5809bc69a507">Yale LUX</a></span></li></ul></div></td></tr></tbody></table></div></div><div><div class="zim-footer">

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