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Les guides de ville, relations de voyages et journaux sont prioritairement utilisés en histoire de l’art comme sources sur les objets qu’elles désignent. Une critique de leur énonciation peut être menée mais leur contenu est plus rarement questionné sous l’angle d’une intertextualité à l’échelle européenne. Cette communication analysera en regard les Architecktonische Reise-Anmerckungen de Leonhard Christoph Sturm et la Description nouvelle de la ville de Paris de Germain Brice, en s’interrogeant sur la pertinence de pareille lecture croisée. City guides, accounts of voyages and journals are mainly used in art history as sources for the objects they refer to. A critique of their formulation can be undertaken, but it is rarer for their content to be examined from the perspective of a European-wide intertextuality. This essay is a comparative analysis of Leonhard Christoph Sturm’s Architecktonische Reise-Anmerckungen and the Description nouvelle de la ville de Paris by Germain Brice, examining the relevance of such a comparative reading.

On the occasion of the systematic archaeological research of the forum at the ancient site of the Municipium DD in the north of Kosovo and Metohija, one of the rare examples of a civil basilica was discovered, along with the unusual forms of late antique decorative architectural elements within it. The colonnades from the interior of the basilica consisted of as many as three types of different columns - with a rectangular, oval, and circular base. Each of the examples of these columns had the appropriate bases and capitals, which in their appearance deviate from the most common design of these elements within ancient columns. In this paper, we have determined the place and course of development of specific forms of architectural sculpture in this site. The analysis highlights particular architectural details that determine the identification of the stylistic order to which the forms of our capitals and bases are closest. The special motifs that appear in the form of flutes and lunulae on the capitals determine that the decorative stone sculpture from the civil basilica of Municipium DD belongs to the Doric style. In an attempt by a stonemason to define the shapes of a special type of this order, that is the so-called palm "Pergamon" capitals, it is recognizable that he gave up more demanding details such as leaf ends, which are otherwise characterized by this type. Despite the general affiliation with the Roman Doric architecture, the individual approach of the stonemasons in shaping the capitals meant that certain features were noticed on them, which have not been recognized in other archaeological sites in the Balkans so far. At the same time, on the bases of columns with a circular and oval base, a lack of trochilus and listels, common for shaping ancient bases, is noticeable.

V diplomski nalogi sem primerjala stebre v javnih in zasebnih zgradbah v Pompejih. Delo začenjam z orisom zgodovine raziskav ter urbanističnega in arhitekturnega razvoja Pompejev. V nadaljevanju je predstavljen tipološki pregled stebrnih redov in kapitelov. V osrednjem delu naloge so v kataloški obliki predstavljeni podatki o tipologiji, času nastanka, gradbenem materialu in lokaciji stebrov v izboru objektov v regijah VI, VII in VIII na arheološkem najdišču Pompeji. Sledi analiza, v kateri primerjam značilnosti stebrov, pri čemer je poudarek na razlikah in podobnostih med stebri v javnem in zasebnem kontekstu. Delo zaključujem z razpravo o rezultatih analize, v kateri poskušam potegniti vzporednice z uporabo stebrov in arhitekturnim razvojem Pompejev ter ugotoviti, kako je vloga, ki so jo imeli stebri, vplivala na njihovo oblikovno zasnovo ter na izbiro prostora, v katerem so bili zgrajeni. In my thesis, I compared columns in public and private buildings in Pompeii. I begin my thesis with an outline of the history of research, and the urban and architectural development of Pompeii. In the following, a typological overview of column orders and capitals is presented. In the central part of the thesis, typology, time of construction, building material and location of the columns within selected buildings in regions VI, VII and VIII at the archaeological site of Pompeii are presented in form of a catalogue. In the following analysis I compare the characteristics of the columns, with an emphasis on the differences and similarities between the columns in the public and private context. I conclude my work with a discussion of the results of the analysis, in which I try to draw parallels with the use of columns and the architectural development of Pompeii, and find out how the role of the columns influenced their design and the choice of the room in which they were built.

Many contemporary designs of interior design and architecture inspired by classical orders lack the standard basics and rules of this orders –especially the Golden Ratio – which resulted the appearance of designs which lack the values of classical aesthetic and visually distorted due to the absence of the accurate study of the determinates and values of the classical golden ratio. Study Significance: The study significance lay in it’s attempt to handle a factual problem in the field of scientific specialization which is the deformation of classical aesthetic ratio-especially the golden ratio – in the modern interior design works because of not analyzing their aesthetic value and standard ratio. Objectives: Determinate the aesthetic ratios of classical orders and it’s golden ratios and the mechanism of it’s application in interior design to be a reference to the designers in order to understand and evaluate classical aesthetic in the field of scientific specialization. Methodology: The research adopt the historical methodology through the study of the notion of golden ratio and the history of its emergence and application in classical architecture orders , in addition , the applied analytical descriptive methodology is adopted , as a through analysis is conducted to ratios and determinants of classical order and the application the study of the golden ratio in interior design. Results: The Golden Section is a known geometrical and mathematical ratio derived by the Greeks from the measurments of a harmonized ratios human body and the ratio exist between two numbers , spaces and sizes , as they used this ratio in all their designs which had a great effect in establishing aesthetic values of a design and which represented in the equilibrium and compatibility of all the pieces of the design and the choice of it’s ideal ratios , also it was applied later in many interior design and architecture designs, and this ratio is 1.61804. The Greek orders consists of three orders and they are: The Doric order – The Ionic order – The Corinthian order , each of these orders has it’s special ratios , thus designers discovered in them a source of inspiration and though which can be applied in designs through the ages for it’s aesthetic effect which characterized with agility and design accuracy of ratios. During classical ages , the determinants of inner space design spread generally in palaces and other buildings and they all based on the old classical order and the ratio of classical column , as the inner walls was divided into the same aesthetic ratios of classical order. characterized by their accuracy and fulfillment of classical aesthetic values

Este artigo objetiva abordar a gênese do templo dórico grego até a formação do tipo ou “cânone”, dando ênfase para as teorias mais polêmicas que permeiam o assunto. Abordamos a forma do templo dórico, em planta e elevação. Para isso, construímos uma espécie de glossário, só que minuciosamente detalhado, explicando a forma e função de cada elemento arquitetônico que compõe o templo dórico. Explicamos a nomenclatura para a designação de cada tipo de templo com exemplos para cada formação. Finalizamos o artigo com uma lista cronológica dos principais templos dóricos e uma figura que auxilia o entendimento do tipo dórico. This article aims to address the genesis of the Greek Doric temple until the formation of the type or “canon”, emphasizing the most controversial theories that permeate the subject. We approach the form of the Doric temple, in plan and elevation. For this, we have built a kind of glossary, minutely detailed, which explains the form and function of each architectural element that makes up the Doric temple. We explain the nomenclature for the designation of each type of temple, with examples for each formation. We finish this article with a chronological list of the main Doric temples and an illustration that helps to understand the Doric type.

This paper deals with the 3D reconstruction of ancient Greek architectural members, especially with the element of the Doric column. The case study for this project is the Choragic monument of Nicias on the South Slope of the Athenian Acropolis, from which a column drum, two capitals and smaller fragments are preserved. The first goal of this paper is to present some benefits of using 3D reconstruction methods not only in documentation but also in understanding of ancient Greek architectural members. The second goal is to take advantage of the produced point clouds. By using the Cloud Compare software, comparisons are made between the actual architectural members and an “ideal” point cloud of the whole column in its original form. Seeking for probable overlaps between the two point clouds could assist in estimating the original position of each member/fragment on the column. This method is expanded with more comparisons between the reference column model and other members/fragments around the Acropolis, which may have not yet been ascribed to the monument of Nicias.

Gli elementi di decorazione architettonica dorica provenienti da Lipari, parte custoditi nel Museo e parte reimpiegati in edifici medievali, sono i soli resti di strutture non più esistenti. Allo stato attuale delle conoscenze non sono noti edifici monumentali dal territorio e questi disiecta membra sono quasi il solo dato sul quale poter indagare sull’architettura ellenistica dell’isola. Nonostante le difficoltà relative a una ricostruzione della loro provenienza, destinata a rimanere del tutto ipotetica, ma probabilmente da individuare nel quartiere abitativo della città, l’impiego del materiale vulcanico utilizzato, ampiamente disponibile sull’isola, induce a ritenere come sicura una loro realizzazione locale. Sotto il profilo stilistico invece sono vari i legami con la Sicilia e anche con l’Oriente del Mediterraneo, regioni dalle quali è probabile che provenissero alcune delle maestranze che li realizzarono., In recent decades archaeological research in Lipari has revealed some elements of Doric architectural decoration, which are currently kept in the Regional Museum or were reused in medieval buildings. At present, our knowledge of the monumental buildings of ancient Lipára is very limited; the architectural elements presented here represent the only possibility to learn more about the Hellenistic architecture of the island. Despite the difficulties arising from their fragmentary state and reuse, it is probable that they came from the residential quarter of the ancient city. Moreover, their material, a volcanic stone, testifies to production on the island. From a stylistic point of view, there are several links with Sicily and the East Mediterranean, perhaps attributable to Sicilian craftsmen working on the island., Archäologischer Anzeiger, 2. Halbband (2018)

The Parthenon on the Acropolis in Athens, built in the fifth century BC, became the symbol of a golden era of antiquity during the Greek Revival era of the eighteenth and nineteenth centuries. Representing one of the greatest architectural and artistic achievements of the ancient Eastern Mediterranean world, it came to be the preferred archetype in the West for many public and governmental buildings as well as private mansions. From elegant incorporations to brutal imitations, Parthenon-inspired designs could be found everywhere, as the image of Periclean Athens’ magnificent temple, dedicated to the city’s divine patroness Athena, became a familiar, beloved plaything of Neoclassical architects around the world. Architectural design elements inspired by the Parthenon appear especially in the Neoclassical architecture of Europe (Germany, England, Italy), the United States, and even Australia. Moreover, principles of the Doric order, including symmetry, morphological simplicity, and building proportional to a human scale, as well as the concepts of constructional perfection and structural rationalism, can be found integrated even into subsequent modern architecture of the twentieth century. Distinct allusions to the Parthenon’s style within the architectural environment of today’s modern world renders this unique ancient structure a hallmark of architectural continuity through the centuries.

This paper pays close attention to architectural decoration in King Herod's construction projects and offers a renewed perspective on Herod's use of monumental display to situate his own kingdom within the empire. His increased reliance on the Corinthian rather than the Doric order, for example, appears to reflect Augustus's choice of the Corinthian order as representing the new Roman taste. His introduction into local architecture of particularly Roman architectural elements, such as the stucco ceilings of the “coffer-style” and the console cornice, moreover, transformed the adornment of buildings throughout Judaea. The recently discovered mausoleum in Herodium identified by its excavators as Herod's tomb exemplifies how these new Roman trends were incorporated into the local Hellenistic architectural tradition. I suggest that Herod's decorative program influenced the tastes of many of his subjects; the architectural decoration in cities such as Jerusalem demonstrates how the innovations introduced by He...

The author discusses structural principles of the column order attributed to Elizabethan Baroque Style and uses St. Petersburg monuments as examples. The article has drawings of columns and architectural details of the Baroque style buildings in St. Petersburg. The author identifies their specific stylistic features and compares them with classical architectural forms.The column order of the Elizabethan Baroque style is built according to classical rules, although it has substantial deviations. Back then, only three types of orders were used: a Doric order, an Ionic order and a composite order. Order profiles and capitals were changed in the era of Elizabethan baroque style; therefore, Ionian and composite capitals of the Elizabethan Baroque style differ from those of Vignola and Palladio. Necks of capitals were smooth or had flutes. The Elizabethan Ionic order is based on a subset of Ionic capitals, typical for the era of late Renaissance. Creative ideas and skills of architects developed an own language of architectural forms, typical for this style.

The Doric Temple of Messene at ancient Messene, Peloponnesos, was located in the southwest part of the Agora. It was excavated by the Society of Messenian Archaeological Studies from to 2003 until 2006. The authors participated in its field research and measured the site and blocks to make the drawings. The temple has been all ruined with remains of staircase of several steps on the west front and decades of architectural blocks. This short paper is to analyze the temple plan on its peristyle or its exterior colonnades based on the detailed study of the shape and dimensions of the block. Consequently, the present study brought the result that the temple had six columns in fronts and twelve on the sides. The lower column diameter was 0.808 m and the intercolumniation was 1.922 m. The staircase on the west did not belong to the main body of the temple but formed a somewhat Roman-type podium with nine steps, although it was basically used for the citizens to rise up to the temple easily. The architectural style of Doric temple had been already perfected in the Classical period. Thus, this temple is architecturally interesting from the viewpoint of transitional style of Doric order.

Owen Jones in The Grammar of Ornament clearly states that ornament comes from a deep observation of nature. He emphasizes the importance of the harmony of the parts and the subordination of one part to another. This subordination and harmony between the parts is what fractal geometry explores as self-similarity and self-affinity. An iterated function system (IFS) is a digital method of producing fractals. An IFS in the shape of columns holding up a lintel produced an attractor displaying fluted columns with capitals and an entablature with the proper number and spacing of triglyphs and mutules. Thus, fractal geometry, through the use of iterated function systems, provides a new insight into the intention of Doric ornament design.

Like many scholars of my generation, I have followed the vicissitudes of the Metropolitan Museum's classical collections over the past 40 years.1 Beginning with the conversion of the Roman Court to a restaurant in 1954, the collection has been the victim of one space-squeeze after another: the second-floor Etruscan galleries disappeared in the 1980s, when, illogically, the Greek vases migrated upstairs, divorced from the sculpture and bronzes. Even at that, except for the temporary but spectacular display of the Euphronios krater after its acquisition in 1972, the vases were crowded into antiquated cabinets and difficult to study. But the later classical collections suffered even more, being in large part relegated to storage for nearly two decades. The opening of the galleries devoted to Hellenistic, Roman, and Etruscan art is both long-awaited and welcome.2 It is the culmination of a 17-year process that began with the refurbishing of the Greek galleries, beautifully realized by the firm of Kevin Roche John Dinkeloo and Associates and opened to the public in 1999. At that time, most of the Roman objects disappeared from view. Until then, in a selective but crowded display, Roman art had a home in what is now the Belfer Court, an airy space occupying the entire width of the wing where the temporal sequence now begins with Minoan, Bronze Age, and Geometric art. For years, the Boscoreale cubiculum, housed in the corner of the grand entry hall just before the entrance to the Belfer Court, constituted a kind of prelude to the Roman collection. Now there is a tiny gift shop in that space. The Greek galleries to either side of the Greek sculpture court the central, axial path to the Roman Court focus almost exclusively on Attic art and set expectations for the new wing. When one considers the earlier segregation of Greek vases from the other works in the collections, the mix of media and scale here within each chronological period is a notable feature of the display. Well-designed plate glass cases with glass shelves suspended by an ingenious system of chrome rods encourage close viewing from all angles. Both the chronological sequence and display solutions adopted in the Greek galleries in 1999 prefigure those employed in the new Hellenistic and Roman galleries, where curator Carlos Picon's philosophy of mixing media and artistic genres becomes more complex and enticing. The prelude to the feast is the transverse space that crosses the axis of the Greek sculpture court and is now devoted to Hellenistic sculpture and architecture. At its center, viewers will recognize an old friend in the great Ionic base and capital from Sardis (fig. 1). Even so, it is a peculiar object to represent Hellenistic architecture, being monumental yet strangely truncated without the column shaft. To the left, a one-and-a-half times life-sized bronze portrait statue dominates the space. It rivals the so-called Hellenistic Ruler from the Museo Nazionale in Rome for its quality and state of preservation and has been conjectured to depict a Pergamene ruler. Like several other spectacular sculptures on display, it is loaned from the Leon Levy and Shelby White collection and lacks provenance and cultural context.3 On the wall near the great bronze is a shelf devoted to fine marble portrait heads that effectively convey the huge range of emotional expressions characterizing Hellenistic portraiture. A beautifully preserved Late Hellenistic bronze statue of a man stands nearby; although headless, it preserves in amazing detail the hands, sandaled feet, and even the folds and embroidery in the fabric of his himation. The Roman Court, renamed the Leon Levy and Shelby White Court, now soars to double its former vertical volume (fig. 2). This decision seems a mixed success.4 On the one hand, its proportions are harmonic, and the segmental barrel vault in clear glass floods the court with light. The architects were, in fact, returning to the design that was preferred by McKim, Mead, and White in their 1912 plan but was ultimately rejected. An Ionic order tops the Doric order of the ground floor; behind the freestanding columns are walls and windows, making this upper story a kind of blind loggia. On the other hand, even monumental works such as the Hope Dionysos, set on the central axis at the far edge of the court, are dwarfed by the huge vertical volumes, and smaller statues as well as portrait heads on pedestals seem a bit lost. The grand space diminishes celebrated works such as the statue best known as the Old Market Woman. (The label now identifies her as an aged courtesan on her way to a festival of Dionysos a somewhat unlikely interpretation and updates her to the Julio-Claudian period.) The figures that

The standard wisdom on the origins of the Doric order revolves around the doctrine of petrification, by which a previously established timber vocabulary came to be perpetuated in stone once society acquired the means to build in this material. While the petrification doctrine takes its authority from the Roman architect-writer Vitruvius, and finds support from parallel processes observable elsewhere in the world, it none the less copes inadequately with the archaeological realities of Greece in the late Geometric and early Archaic periods. In particular, the form, size, and placement of the triglyphs in the frieze are not necessarily demanded by the logic of timber construction and the configuration of early temple superstructures. A growing number of scholars accordingly challenge the Vitruvian consensus, whether by tracing the Doric frieze back to Mycenae, Egypt, the Orient, and idioms of pattern making in Geometric art, or by arguing for symbolic modes of interpretation. After briefly reviewing these approaches, this paper presents connections between triglyphs and tripods, ritual objects of considerable significance for early Greek cultural and religious life. The formal characteristics of tripods and representations of tripods find echoes in the generic compositional structure of the triglyph. Depictions of multiple tripods alternating with decorative motifs recall the rhythmical disposition of the triglyph and metope frieze, while certain small-scale details on bronze tripod legs find counterparts in non-canonic types of triglyph. The concluding section initiates a debate over the explanation for these affinities by exploring the significance of the tripod and its many associations: as aristocratic gift with heroic overtones, as agonistic prize, as oracular instrument, as Apolline symbol, as the Greeks' ultimate votive offering. Some of these themes can strike chords with Greek temples, so there thus emerges the possibility that the triglyph frieze was invented to articulate visually the programmatic concerns of their builders.

This paper addresses the history and design of a pavilion at the Villa Albani in Rome. Built in 1764 by the architect Carlo Marchionni, possibly to a design by the client, the antiquarian Cardinal Alessandro Albani, this is a caffeaus (or coffee house, to offer a rough translation) featuring an eleven-bay semi-circular portico of Doric order. The taking of coffee after dinner had become a popular pastime and some, who could afford it, built special pavilions in their gardens for this purpose. Pope Benedict XIV, for instance, had a caffeaus built in his garden at the Quirinal Palace some twenty years earlier, where he could withdraw from the formalities of courtly life. For Cardinal Albani, the caffeaus also served as an extension to his Casino, where his vast collection of sculptures, busts and basins was displayed. With the aid of his librarian, the German scholar and writer Johann Joachim Winckelmann, Albani displayed his immense and unique collection of art and antiquities in a way that served to underline his own scholarship, wealth and position of affinity with Rome. The Villa and its splendours were not to be missed by the Grand Tourists. This paper will situate this exceptional pavilion in the wider context of his Villa, whose gardens and buildings today lie in various stages of disrepair and are closed to the public, except by private invitation.

This master thesis deals with comparison of Greek temples in areas of Magna Graecia and the mainland Greece from the 6th and 5th centuries BC. The first chapter covers with the Greek colonization in Sicily and south Italy. Main temple buildings from both areas are described and compared in following chapters. All the differences between both areas are summarized in the end of the thesis.

Also known as Donato di Angelo. Italian architect and painter. His approach to architecture was strongly influenced by painters, such as Mantegna. His first church was Sta Maria presso S. Satiro in Milan in the late 1470s. Here he makes brilliant use of perspective to create the illusion of a three-bay choir on a flat wall. In the 1470s he added a tribune to Sta Maria delle Grazie. Later he went to Rome where he worked on the cloister of Sta Maria della Pace between 1500 and 1504. His next work was the Tempietto in the courtyard of San Pietro in Montorio where he designed a centrally planned martyrium using the Doric order and carving the instruments of the Mass on the colonnade surrounding the cella of the chapel. This led to his appointment as architect of the rebuilding of the Old St. Peter's. Bramante's original design was for a centrally planned church with identical arms. The foundation stone was laid by Pope Julius II. Bramante's plan was abandoned as other architects took over the project, but it inspired Michelangelo, whose grander vision ultimately prevailed. Bramante was also a painter whose somber and poignant Christ at the Column shows the influence of Leonardo. Keywords: Bramante, Donato (1444–1514); donato di angelo. Italian architect and painter; workings, on cloister of sta Maria della Pace; architect, of rebuilding of the old St. Peter's; Bramante's painting, christ at the column

The Fasti consulares , naming Rome's magistrates, were inscribed on four panels that were framed by small Corinthian pilasters, while the Fasti triumphales , displaying the names of Roman triumphators, were inscribed on four pilasters of Doric order. The list of Roman triumphators stops sharply at 19 BC. There were no later additions; in fact, there was not even any space spared on the four pilasters to add more names. Thus, the Fasti triumphales were not a list in active use, but were edited and published at one time as a fully completed and closed record. In emphasising the connection between Augustus' return and the end of the Fasti triumphales , the author argues that the Parthian arch with its celebration of the signa recepta and its completed list of past triumphs symbolically announced the beginning of a new age, in which foreign people submitted to the pax Romana without bloodshed. Keywords: Fasti triumphales ; pax Romana ; signa recepta

During the fifth century B.C., Greek architects perfected a method for designing Doric peripteral temples, and this procedure was used for most temples constructed during the second half of the century in mainland Greece and in its colonies. This procedure had to be determined in order to see how it was adapted to design the Parthenon. Minor modifications enabled the architects of the Parthenon to achieve greater commensurability than for any other Doric temple (Fig. 1). To lay foundations for a Doric temple, an architect needed to know the number of columns and the overall length. Since nearly all peripteral temples of the Doric Order have six columns on their fronts, the first decision which ordinarily needed to be made was how many columns would be used on the sides, and for hexastyle temples this ranged from ten to sixteen columns. The ratio of the number of columns on the fronts to the number on the sides determined the overall form and was the single most important ratio which had to be selected. The column number ratio was reused as the ratio for the stylobate of some of the earliest stone temples (Table 1, column 2; Table 2, column 6), and it was later applied to the krepis. It was used as the ratio of the krepis for the great majority of temples constructed from c. 535 and c. 320 (Table 1, column 1; Table 2, column 4).

The Temple of Zeus at Akragas is poorly preserved and imperfectly known. This article offers an analysis of its dimensions and of the principles which might have determined the anomalous arrangement of the columns. Suggestions are made for the interior plan and for the roofing of the structure, which probably included an hypaethral section in the center. Pythagorean beliefs and number theories may have influenced the shaping of this unusual temple. Among Doric temples the Olympieion of Akragas stands apart.1 Anomalous in scale and architectural form, the building seems intended to set forth a radical solution to the problem of Doric design. In size it was the largest temple in Sicily and the largest ever attempted anywhere in the Doric order. The strange design (ill. i) transforms the anticipated peristyle into a perimeter wall, creating interior spaces of unprecedented vastness. The order is treated with great freedom, with regard both to its structure and to the inclusion of non-Doric elements, some Ionic in origin and others unique. The temple bore the only major pedimental sculptures in Sicily, now almost entirely lost, and it incorporated into its design a series of colossal male figures, or Atlantes, which for more than a century have provoked debate as to their function and

HYPOTHESESThe temple complexes of Apollo (Delphi) and the Parthenon (Acropolis, Athens) demonstrate that: 1. Classical Greek architecture was purposely developed into a perceived totality, using its approach environs in a conscious application of serial vision1 to heighten the participant's2 awareness of the Main Temple.2. Classical Greek architecture was not exclusively an architecture of three classical orders, but an architecture on two hierarchical levels: viz. the divine order, a perfect, eternal Doric Temple relating to earth, sky and horizons, and a secondary human order of auxiliary buildings characterized by complexity3 and ambiguity4 in the sense of being imperfect, restless, of varied design and not oriented to a geometrical axis, in order to contrast with the Divine Doric order embodied in the Main Temple.3. The Propylaea, Erechtheum and Temple of Athena Nike, all three on the Acropolis of Athens, as well as the various small buildings along the Sacred Way at Delphi, are examples of buildings ...

The traditional approach to the study of early monumental architecture in Greece has been based upon the Vitruvian interpretation of the Doric order. As a consequence, very early stone buildings which preserve few or no recognizable traces of the Doric order have been reconstructed as fully Doric; the missing pieces are simply reconstructed in wood. But neither pre-Doric nor Doric architecture can be fully understood in terms of the developed Doric order. The foundation for the study of either has to be the physical remains of pre-Doric buildings in Greece. Perhaps the most logical area in which to begin a study of the roots of monumental architecture in Greece is the Corinthia, which tradition associates with the earliest monumental architecture.' The dis

The triglyph problem which arose at the corners of a Doric building, and was held by Vitruvius to be responsible for the disuse of the Doric order in Roman times, has for many years been discussed by archaeologists. The best short explanation of the difficulties involved is probably that by Robertson. The much more complex problems which are met at a re-entrant angle in the Doric order, have, on the other hand, received little attention, for such angles do not occur in temples, the type of building which has been studied most thoroughly. They do, however, appear fairly frequently in more utilitarian buildings such as stoas and palaistras, and various treatments of them were evolved.