fbpx
Wikipedia

Corinthian order

January 01, 1970

The Corinthian order (Greek: Κορινθιακὸς ῥυθμός, Korinthiakós rythmós; Latin: Ordo Corinthius) 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.[1]

Corinthian peripteros of the Temple of Bacchus, Baalbek, Lebanon, unknown architect, 150–250
Corinthian columns from the Pantheon, Rome, unknown architect, c. 114–124 AD, which provided a prominent model for Renaissance and later architects
Compared of the Doric, Tuscan, Ionic, Corinthian and Composite orders; with staircase

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.[2]

The name Corinthian is derived from the ancient Greek city of Corinth, although it was probably invented in Athens.[3]

Description edit

Greek Corinthian order edit

 
Frieze and capitals of the Choragic Monument of Lysicrates, Athens, unknown architect, 330s BC, one of the earliest surviving examples

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.[3]

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,[4] 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.[5] 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.[6] The form is usually found in smaller columns, both ancient and modern.

Roman Corinthian order edit

 
Bucrania with festoons decorating the Temple of Vesta from Hadrian's Villa, Tivoli
 
Corinthian columns of the Arch of Septimius Severus, in the Forum Romanum
 
Corinthian columns of the Arch of Septimius Severus in Leptis Magna

The style developed its own model in Roman practice, following precedents set by the Temple of Mars Ultor in the Forum of Augustus (c. 2 AD).[7] 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 (c. 150 AD).[8]

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.[9]

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.[9]

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 capitals edit

Main article: Indo-Corinthian capital
 
Figure of the Buddha, within a Corinthian capital from Gandhara, Musee Guimet, Paris, unknown architect, 3rd–4th century

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 Europe edit

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 order edit

 
Vincenzo Scamozzi offers his version of the Corinthian capital, in a portrait by Veronese (Denver Art Museum)

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.[10]

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.[11]

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.[12]

History edit

 
Ancient Greek capital from Tarentum with addorsed sphinxes, 4th–3rd centuries BC, made of limestone, in the Metropolitan Museum of Art, New York City

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[13] 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 (c. 75 BC – c. 15 BC) 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.[14]

 
The origin of the Corinthian order, illustrated in Claude Perrault's translation of the ten books of Vitruvius, 1684

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 examples edit

 
The Maison Carrée, Nîmes, France, unknown architect, 1st century AD

Gallery edit

See also edit

Notes edit

  1. ^ Lawrence, 85; Summerson, 124, 176
  2. ^ a b "Corinthian Columns". Architect of the Capitol. Retrieved 2019-03-24.
  3. ^ a b Summerson, 124
  4. ^ Lawrence, 179 (Plate 80)
  5. ^ Lawrence, 237
  6. ^ Brown, 232; Fergusson, James, The Illustrated Handbook of Architecture, Vol 2, p. 273, 1855, John Murray, google books
  7. ^ Mark Wilson Jones, "Designing the Roman Corinthian order", Journal of Roman Archaeology 2:35-69 (1989).
  8. ^ Jones 1989.
  9. ^ a b Peter D'Epiro; Mary Desmond Pinkowish (22 December 2010). What are the Seven Wonders of the World?: And 100 Other Great Cultural Lists--Fully Explicated. Knopf Doubleday Publishing Group. p. 133. ISBN 978-0-307-49107-7.
  10. ^ 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
  11. ^ Quoted by Sir Kenneth Clark, The Nude: A Study in Ideal Form, 1956, p. 45.
  12. ^ Chambers, A Treatise on the Decorative Part of Civil Architecture (Joseph Gwilt ed, 1825:pp 159–61).
  13. ^ 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.
  14. ^ Vitr. 4.1.9-10
  15. ^ Watkin, David (2022). A History of Western Architecture. Laurence King. p. 40. ISBN 978-1-52942-030-2.
  16. ^ Hugh Honour, John Fleming (2009). A World History of Art - Revised Seventh Edition. Laurence King Publishing. p. 147. ISBN 978-1-85669-584-8.
  17. ^ Hugh Honour, John Fleming (2009). A World History of Art - Revised Seventh Edition. Laurence King Publishing. p. 177. ISBN 978-1-85669-584-8.
  18. ^ Watkin, David (2022). A History of Western Architecture. Laurence King. p. 123. ISBN 978-1-52942-030-2.
  19. ^ Watkin, David (2022). A History of Western Architecture. Laurence King. p. 217. ISBN 978-1-52942-030-2.
  20. ^ Martin, Henry (1927). Le Style Louis XIV (in French). Flammarion. p. 39.
  21. ^ Watkin, David (2022). A History of Western Architecture. Laurence King. p. 325. ISBN 978-1-52942-030-2.
  22. ^ J. Philippe, Minguet (1973). Estetica Rococoului (in Romanian). Meridiane.
  23. ^ Watkin, David (2022). A History of Western Architecture. Laurence King. p. 333. ISBN 978-1-52942-030-2.
  24. ^ Robertson, Hutton (2022). The History of Art - From Prehistory to Presentday - A Global View. Thames & Hudson. p. 989. ISBN 978-0-500-02236-8.
  25. ^ Watkin, David (2022). A History of Western Architecture. Laurence King. p. 490. ISBN 978-1-52942-030-2.
  26. ^ Hugh Honour, John Fleming (2009). A World History of Art - Revised Seventh Edition. Laurence King Publishing. p. 867. ISBN 978-1-85669-584-8.
  27. ^ Gura, Judith (2017). Postmodern Design Complete. Thames & Hudson. p. 121. ISBN 978-0-500-51914-1.

References edit

External links edit

 
Wikimedia Commons has media related to Corinthian columns.
  • Classical orders and elements

January 01, 1970
corinthian, order, greek, Κορινθιακὸς, ῥυθμός, korinthiakós, rythmós, latin, ordo, corinthius, last, developed, most, ornate, three, principal, classical, orders, ancient, greek, architecture, roman, architecture, other, doric, order, which, earliest, followed. The Corinthian order Greek Korin8iakὸs ῥy8mos Korinthiakos rythmos Latin Ordo Corinthius 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 1 Corinthian peripteros of the Temple of Bacchus Baalbek Lebanon unknown architect 150 250 Corinthian columns from the Pantheon Rome unknown architect c 114 124 AD which provided a prominent model for Renaissance and later architects Compared of the Doric Tuscan Ionic Corinthian and Composite orders with staircase 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 2 The name Corinthian is derived from the ancient Greek city of Corinth although it was probably invented in Athens 3 Contents 1 Description 1 1 Greek Corinthian order 1 2 Roman Corinthian order 1 3 Gandharan capitals 1 4 Byzantine Empire and Medieval Europe 1 5 Renaissance Corinthian order 2 History 3 Notable examples 4 Gallery 5 See also 6 Notes 7 References 8 External linksDescription editGreek Corinthian order edit nbsp Frieze and capitals of the Choragic Monument of Lysicrates Athens unknown architect 330s BC one of the earliest surviving examples 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 3 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 4 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 5 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 6 The form is usually found in smaller columns both ancient and modern Roman Corinthian order edit nbsp Bucrania with festoons decorating the Temple of Vesta from Hadrian s Villa Tivoli nbsp Corinthian columns of the Arch of Septimius Severus in the Forum Romanum nbsp Corinthian columns of the Arch of Septimius Severus in Leptis Magna The style developed its own model in Roman practice following precedents set by the Temple of Mars Ultor in the Forum of Augustus c 2 AD 7 It was employed in southern Gaul at the Maison Carree Nimes 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 c 150 AD 8 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 9 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 9 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 capitals edit Main article Indo Corinthian capital nbsp Figure of the Buddha within a Corinthian capital from Gandhara Musee Guimet Paris unknown architect 3rd 4th century 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 Europe edit 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 order edit nbsp Vincenzo Scamozzi offers his version of the Corinthian capital in a portrait by Veronese Denver Art Museum 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 10 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 Freart de Chantelou in 1642 The beautiful girls whom you will have seen in Nimes will not I am sure have delighted your spirit any less than the beautiful columns of Maison Carree for the one is no more than an old copy of the other 11 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 12 History edit nbsp Ancient Greek capital from Tarentum with addorsed sphinxes 4th 3rd centuries BC made of limestone in the Metropolitan Museum of Art New York City 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 13 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 c 75 BC c 15 BC 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 14 nbsp The origin of the Corinthian order illustrated in Claude Perrault s translation of the ten books of Vitruvius 1684 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 examples edit nbsp The Maison Carree Nimes France unknown architect 1st century AD Argentina Palace of the Argentine National Congress Bangladesh Tajhat Palace Rangpur France Maison Carree Nimes The July Column Paris Germany Palatine Chapel Aachen The Reichstag Berlin Greece Choragic Monument of Lysicrates Athens Temple of Olympian Zeus Athens Israel Seat of the Universal House of Justice Haifa Italy Pantheon Rome Temple of Mars Ultor Temple of Vesta Tivoli Jordan Jarash Jabal al Qal a Amman Philippines St La Salle Hall Don Enrique T Yuchengco Hall Enrique M Razon Sports Center Portugal Templo de Diana Evora Column of Pedro IV Lisbon Romania New Saint George Church of Bucharest Royal Palace of Bucharest The Church from the Antim Monastery Central University Library of Bucharest Monteoru House Russia Winter Palace Saint Isaac s Cathedral Serbia House of the National Assembly of the Republic of Serbia Singapore Former City Hall South Africa Houses of Parliament Cape Town Syria Bosra Damascus Temple of Jupiter Latakia Colonnade of Bacchus Palmyra Ukraine Great Lavra Belltower fourth tier 8 columns Independence Monument United Kingdom Nelson s Column in Central London University College London United States of America United States Capitol 2 United States Supreme Court Building City Hall County Building Chicago The Rotunda University of Virginia New York Stock ExchangeGallery edit nbsp Reconstructed Corinthian capital with original colours nbsp Ancient Greek Corinthian columns in the Temple of Apollo at Bassae Bassae Greece illustration by Charles Robert Cockerell unknown architect c 429 400 BC 15 nbsp Ancient Greek Corinthian order of the Choragic Monument of Lysicrates Athens c 335 BC nbsp Ancient Greek Corinthian capital from the tholos at Epidaurus Archaeological Museum of Epidaurus Greece said to have been designed by Polyclitus the Younger c 350 BC 16 nbsp Ancient Greek Corinthian order of the Tower of the Winds Athens probably c 50 BC nbsp Roman Temple of Olympian Zeus Athens 174 BC c 130 AD 17 nbsp Roman Corinthian capitals in the Temple of Hercules Victor Rome later 2nd century BC nbsp 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 nbsp Roman Corinthian capital with gorgoneia from the Colosseum Rome 70 80 BC nbsp The variant known as Tower of the Winds Corinthian after the monument in Athens c 50 BC nbsp 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 nbsp Roman Corinthian capital of the Temple of Castor and Pollux Rome with intertwining central stems 1st century nbsp Roman Corinthian columns and pilasters of the Arch of Hadrian Athens 131 or 132 AD nbsp Roman Corinthian columns from the Temple of Artemis Jerash Jordan 150 AD nbsp The Constantinian basilica of Santa Sabina interior with spolia Corinthian columns from the Temple of Juno Regina nbsp Byzantine quasi Corinthian capital in Basilica of Sant Apollinare Nuovo Ravenna Italy 6th century nbsp Romanesque quasi Corinthian columns in Saint Germain des Pres Paris 8th century restored in the 19th century with original polychromy nbsp Romanesque quasi Corinthian capital Church of St Philibert Tournus France c 1008 to mid 11th century 18 nbsp Renaissance Corinthian pilasters of the Basilica of Sant Andrea Mantua Italy Leon Battista Alberti begun in c 1450 19 nbsp Baroque Corinthian column capitals in the San Carlo alle Quattro Fontane Rome by Francesco Borromini 1638 1677 nbsp Baroque Corinthian columns in the Chapel of the Palace of Versailles 1696 1710 20 nbsp Stylized Baroque Corinthian columns in the Austrian National Library Hofburg Vienna Austria designed by Johann Bernhard Fischer von Erlach in c 1716 1720 built in 1723 1726 21 nbsp Brancovenesc Corinthian capitals of the Stavropoleos Monastery Church Bucharest Romania unknown architect 1724 nbsp Rococo reinterpretations of the Corinthian order in the Pilgrimage Church of Wies Steingaden Germany by Dominikus and Johann Baptist Zimmermann 1746 1754 22 nbsp Rococo reinterpretations of the Corinthian order at the high altar in the abbey church of Ottobeuren Germany by Johann Michael Fischer 1748 1754 23 nbsp Neoclassical Corinthian columns on the Petit Trianon Versailles by Ange Jacques Gabriel 1764 nbsp Neoclassical Corinthian pilaster in the Salon des dames d honneur Chateau de Compiegne Compiegne France unknown architect c 1810 nbsp 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 nbsp 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 nbsp The Neoclassical Corinthian order as used in extending the United States Capitol in 1854 the column s shaft has been omitted nbsp 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 c 1860 nbsp Beaux Arts Corinthian columns on the facade of the Palais Garnier Paris by Charles Garnier 1861 1874 24 nbsp 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 nbsp 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 25 nbsp Greek Revival pilaster capitals on the facade of the Austrian Parliament Building nbsp Postmodern Corinthian columns of the Piazza d Italia New Orleans US by Charles Moore 1978 1979 26 nbsp Postmodern neon Corinthian capital in South Bay Galleria Redondo Beach California US by RTKL Associates and Theo Kondos Associates 1985 nbsp Reinterpreted Postmodern Corinthian columns of the Pumping Station Isle of Dogs London John Outram 1988 27 nbsp 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 1998See also editGiant order Superposed order Chapelle Sainte Radegonde Chinon Notes edit Lawrence 85 Summerson 124 176 a b Corinthian Columns Architect of the Capitol Retrieved 2019 03 24 a b Summerson 124 Lawrence 179 Plate 80 Lawrence 237 Brown 232 Fergusson James The Illustrated Handbook of Architecture Vol 2 p 273 1855 John Murray google books Mark Wilson Jones Designing the Roman Corinthian order Journal of Roman Archaeology 2 35 69 1989 Jones 1989 a b Peter D Epiro Mary Desmond Pinkowish 22 December 2010 What are the Seven Wonders of the World And 100 Other Great Cultural Lists Fully Explicated Knopf Doubleday Publishing Group p 133 ISBN 978 0 307 49107 7 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 Quoted by Sir Kenneth Clark The Nude A Study in Ideal Form 1956 p 45 Chambers A Treatise on the Decorative Part of Civil Architecture Joseph Gwilt ed 1825 pp 159 61 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 Vitr 4 1 9 10 Watkin David 2022 A History of Western Architecture Laurence King p 40 ISBN 978 1 52942 030 2 Hugh Honour John Fleming 2009 A World History of Art Revised Seventh Edition Laurence King Publishing p 147 ISBN 978 1 85669 584 8 Hugh Honour John Fleming 2009 A World History of Art Revised Seventh Edition Laurence King Publishing p 177 ISBN 978 1 85669 584 8 Watkin David 2022 A History of Western Architecture Laurence King p 123 ISBN 978 1 52942 030 2 Watkin David 2022 A History of Western Architecture Laurence King p 217 ISBN 978 1 52942 030 2 Martin Henry 1927 Le Style Louis XIV in French Flammarion p 39 Watkin David 2022 A History of Western Architecture Laurence King p 325 ISBN 978 1 52942 030 2 J Philippe Minguet 1973 Estetica Rococoului in Romanian Meridiane Watkin David 2022 A History of Western Architecture Laurence King p 333 ISBN 978 1 52942 030 2 Robertson Hutton 2022 The History of Art From Prehistory to Presentday A Global View Thames amp Hudson p 989 ISBN 978 0 500 02236 8 Watkin David 2022 A History of Western Architecture Laurence King p 490 ISBN 978 1 52942 030 2 Hugh Honour John Fleming 2009 A World History of Art Revised Seventh Edition Laurence King Publishing p 867 ISBN 978 1 85669 584 8 Gura Judith 2017 Postmodern Design Complete Thames amp Hudson p 121 ISBN 978 0 500 51914 1 References editBrown 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 ISBN 0500201773External links edit nbsp Wikimedia Commons has media related to Corinthian columns Classical orders and elements Retrieved from https en wikipedia org w index php title Corinthian order amp oldid 1219693547, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.