Corinthian order - Wikipedia, the free encyclopedia 11/6/10 6:57 AM

http://en.wikipedia.org/wiki/Corinthian_order Page 1 of 7
The Pantheon provided a prominent
model for Renaissance and later
architects, through the medium of
engravings.

File:JerashCorinblah
blahthian.jpg
Corinthian columns in Jerash,
Jordan

Corinthian order
From Wikipedia, the free encyclopedia
The Corinthian order is one of the three principal classical
orders of ancient Greek and Roman architecture. The other two
are the Doric and Ionic. When classical architecture was revived
during the Renaissance, two more orders were added to the
canon, the Tuscan order and the Composite order. The
Corinthian, with its offshoot the Composite, is the most ornate
of the orders, characterized by slender fluted columns and an
elaborate capitals decorated with acanthus leaves and scrolls.
The name "Corinthian" is derived from the Greek city of
Corinth, although the order first appeared used externally at
Athens. Although of Greek origin, the Corinthian order was
actually seldom used in Greek architecture. It came into its own
in Roman practice, following precedents set by the Temple of
Mars Ultor in the Forum of Augustus (ca. 2 AD).[1] It is
employed in southern Gaul at the Maison Carrée, Nîmes
(illustration, below) and at the comparable podium temple at
Vienne. Other prime examples noted by Mark Wilson Jones are
the lower order of the Basilica Ulpia and the arch at Ancona
(both of the reign of Trajan, 98-117) the "column of Phocas"
(re-erected in Late Antiquity but 2nd century in origin), and the
"Temple of Bacchus" at Baalbek (ca. 150 CE).[2]
Contents
1 Description
1.1 Greek Corinthian order
1.1.1 The Greek corinthian order was the
last Greek column and the most ornate.
The capital on it has carvings of acanthus
leaves
1.2 Roman Corinthian order
1.3 Gandharan capitals
1.4 Renaissance Corinthian order
2 History
3 Notable examples
4 See also
5 Notes
6 External links
Corinthian order - Wikipedia, the free encyclopedia 11/6/10 6:57 AM

http://en.wikipedia.org/wiki/Corinthian_order Page 2 of 7
Figure of the Buddha, within a
Corinthian capital, Gandhara, 3-4th
century, Musee Guimet.
Description
Greek Corinthian order
The Greek corinthian order was the last Greek column and the most ornate.
The capital on it has carvings of acanthus leaves
.
COLUMNS
doric ionic corinthian
Corinthian
Roman Corinthian order
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 may be
made more slender, but
it stands apart by its distinctive carved capital. 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.
Gandharan capitals
Main article: Indo-Corinthian capital
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 first 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.
Corinthian order - Wikipedia, the free encyclopedia 11/6/10 6:57 AM
http://en.wikipedia.org/wiki/Corinthian_order Page 3 of 7

Vincenzo Scamozzi offers his

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

Corinthian capital at the Getty

Villa, Malibu, California
The Corinthian order as
used in extending the US
Capitol in 1854: the
column's shaft has been
omitted.
Renaissance Corinthian order
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.[3]
The Corinthian architrave is divided in two or three sections,
which may be equal, or they may bear interesting
proportional relationships, 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 (illustration, left). At the Capitol the
proportions of architrave to frieze are exactly 1:1. Above that,
the profiles of the cornice moldings 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. If it is not, it
is often worth pausing to unravel the reason why (sometimes
simply a tight budget). Even 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. The French like
to call these chandelles and sometimes they end them literally
with carved wisps of flame, or with bellflowers. Alternately,
beading or chains of husks may take the place of the fillets in the
fluting, for Corinthian is
the most playful and flexible of the orders. Its atmosphere is rich and
festive, with more
opportunities for variation than the other orders.
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 classicizing French painter Nicolas
Poussin wrote to his
Corinthian order - Wikipedia, the free encyclopedia 11/6/10 6:57 AM
http://en.wikipedia.org/wiki/Corinthian_order Page 4 of 7

Model capital? from the

tholos at Epidaurus
(Archaeological Museum of
Epidaurus)
doric ionic
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".[4]
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
Corithian 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.[5]
History
The oldest known example of a Corinthian column is in the Temple of
Apollo Epicurius at
Bassae in Arcadia, ca 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 ca 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 by
a sculptor's model for stone-masons to follow[6] in erecting
the temple dedicated to Asclepius, credited in Antiquity to
Polykleitos the Younger, the son of the Classical Greek
sculptor Polykleitos, the Elder. The temple was erected in
the 4th century BCE. These capitals, in one of the mostvisited
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 BCE — c. 15 BCE) 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. Claude
Corinthian order - Wikipedia, the free encyclopedia 11/6/10 6:57 AM
http://en.wikipedia.org/wiki/Corinthian_order Page 5 of 7
The origin of the
Corinthian Order,illustrated in Claude
Perrault's Vitruvius, 1684

Maison Carrée, Nîmes, France, 14

BC
Simplified Corinthian capital at the
Cistercian monastery at Sacramenia,

Perrault incorporated a vignette epitomizing the Callimachus

tale in his illustration of the Corinthian order for his
translation of Vitruvius, published in Paris, 1684 (illustration,
left). 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 (below, left). 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 (illustration, right) 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. 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 ringlike
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 Flavian
Amphitheater— 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
esthetic composed of arched vaults springing from
columns, the Corinthian capital was still retained. It
might be severely plain, as in the typical Cistercian
architecture (illustration left), 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); the Quattro libri di
Architettura of Andrea
Palladio, and Vincenzo Scamozzi's Idea della Architettura Universale,
were followed in
the 17th century by French treatises with further refined engraved
models, such as
Perrault's.

Pantheon pruža istaknute

model za renesanse, a kasnije
arhitekti, kroz medij
gravure.

Datoteka: JerashCorinblah
blahthian.jpg
Korintskih stupova u Jerash,
Jordan
Korintski red
From Wikipedia, slobodna enciklopedija

Korintske red je jedan od tri glavna klasična

redova drevne grčke i rimske arhitekture. Druge dvije
su dorski i jonski. Korintski stil se pojavljuje u doba korintske klasike krajem 5. st. pr. Kr.
Popularnost doživljava u kasnoj klasici, ali je vrhunac doživio u helenizmu i rimskoj umjetnosti.
Tada on potiskuje dorski i jonski. Najveći broj hramova na Forum Romanumu je bio građen baš u
tom stilu, samo s tipičnim rimskim tlocrtom.
Kada klasična arhitektura je oživio
Tijekom renesanse, još dva naloga dodan u
kanon, toskanski red i poredak Composite.
Korintski, sa svojim izdanak Composite je najviše okićen
naloga, karakterizira vitkim fluted stupaca i
razraditi kapitela ukrašen listovima i akantusovim svitke.
Ime "korintski" dolazi od grčkog grada
Korintu, iako bi se prvi put pojavio koristi izvana u
Atena. Iako je grčkog podrijetla, korintski red je
zapravo rijetko koristi u grčkoj arhitekturi. On je došao u svoje vlastite
u rimskom praksi, nakon presedana postavio hram
Mars u Ultor Forum Augusta (oko 2 Kr). [1] To je
zaposlenih u južnoj Galiji u Maison Carrée, Nîmes
(Ilustracija ispod), a na istom postolju hrama u
Vienne. Ostali primjeri premijera istaknuo je Mark Wilson Jones
donji red bazilike Ulpia i luka u Anconi
(Oba vrijeme vladavine Trajana, 98-117), "stupac Phocas"
(Ponovno podignut u kasnoj antici, ali 2. st. podrijetla), te
"Hram Bakha" na Baalbek (oko 150 CE) [2].
Sadržaj
1. Opis
1,1 grčki korintski red
1.1.1 Grčki korintski red je
zadnji grčki stupca i najviše okićen.
Glavni grad na njemu je rezbarija akantusova
lišće
1,2 Roman korintski red
1,3 Gandharan metropola
1,4 renesanse korintski red
2 Povijest
3 Poznati primjeri
4 Vidi također
5 Bilješke
6 Vanjske poveznice
Korintski red - Wikipedia, slobodna enciklopedija 11/6/10 06:57
http://en.wikipedia.org/wiki/Corinthian_order Stranica 2 od 7
Slika Buddhe, u roku od
Korintski kapitala, Gandhara, 3-4.
stoljeća, Musee Guimet.
Opis
Grčki korintski red
Grčki korintski red je bio posljednji grčki koloni, a najviše okićen. Glavni grad na njemu je
rezbarija akantusova lišća
.
Stupci
dorski ionske korintski
Korintski
Roman korintski red
Omjer je definiranje karakteristika korintske redom: "koherentna integracija
dimenzija i odnosa u skladu s načelima symmetria "su primijetili Mark
Wilson Jones, koji smatra da je omjer ukupne visine stupca na stupac osovine visine u
06:05 omjer, tako da, sekundarno, puna visina stupca sa kapitala je često više od 6
Rimskih stopa, dok stupac visine sam je više od 5. U svojim proporcijama,
Korintski stup sličan je jonski stup, iako to može biti više vitka, ali
to se izdvaja po svojim prepoznatljivim isklesan kapitala. Abacus na kapital ima konkavan
strane da u skladu s outscrolling ugla kapitala, i to može imati rozete na
središtu svake strane.
Gandharan metropola
Glavni članak: Indo-korintskih kapitala
Indo-korintski kapiteli kapitelima kruna
stupce ili pilastrima, koji se mogu naći u
sjeverozapadne Indijskog potkontinenta, i obično
kombinirati helenističke i indijski elemenata. Te
kapiteli su obično datirani u prvim stoljećima
naše ere, a predstavljaju značajne čimbenike u grčko-
Budistički umjetnosti Gandhara.
Klasični dizajn često je adaptiran, obično
uzimanje više izduženog oblika, a ponekad se u kombinaciji s svitaka, općenito
u kontekstu budističkih stupa i hramove. Indo-korintskih kapitela također
ugrađeni figure Bude ili Bodhisattve, obično kao središnje figure okružen,
a često u hladu, od luksuznih krošnjama korintskih dizajna.
Korintski red - Wikipedia, slobodna enciklopedija 11/6/10 06:57
http://en.wikipedia.org/wiki/Corinthian_order Stranica 3 od 7

Vincenzo Scamozzi nudi svoje

verzija korintske kapitala, u
portret od Veronesea (Denver Art
Muzej)

Korintski kapitala na Getty

Villa, Malibu, Kalifornija

Korintske poretka kao

se koristi u SAD-u proširenje
Capitol u 1854 podataka:
stupac vratilo je
ispušteni.
Renesanse korintski red
Tijekom prve rumenilo od talijanske renesanse,
Firentinski arhitektonski teoretičar Francesco di Giorgio
izrazio ljudske analogije da pisci koji se
slijedi Vitruvije često povezan s ljudskim
obliku, na kvadrat crteži on je napravio od korintskih
kapitala obložio s ljudskim glavama, pokazati razmjere zajednički za oboje. [3]
Korintski arhitrav je podijeljen u dva ili tri dijela,
koje mogu biti jednaki, ili mogu imati zanimljive
proporcionalnog odnosa, jedna s drugom. Iznad ravnici,
neokićen arhitrava nalazi se friz koji može biti bogato
izrezbarenim s kontinuiranim dizajna ili lijevo običan, kao i na SAD
Capitol nastavak (ilustracija, lijevo). Na Capitol
razmjere arhitrava na frizu su točno 01:01. Iznad toga,
profila vijenca letvica su poput onih iz jonski
poredak. Ako vijenca je vrlo duboko, može biti podržan od strane
zagrade ili modillions, koji su ukrasni zagradama koriste u
serije pod vijencem.
Korintske stupac je gotovo uvijek fluted. Ako to nije slučaj, ona
je često vrijedi zaustavio se rasplesti razlog (ponekad
jednostavno uskoj proračun). Čak i flaute od korintskih stupca
može biti obogaćen. Oni svibanj biti šipke, šipke s nestled
unutar šuplje flaute, ili prestati-fluted, s šipke diže
treći je put do mjesta gdje se entasis počinje. Francuski kao
nazvati tim chandelles, a ponekad su im na kraju doslovno
s izrezbarenim wisps plamena, ili s bellflowers. Naizmjence,
izvlačenja ili lanci ljuske može uzeti mjesto fileti u žlijebljenje, za korintski je
najviše zaigran i fleksibilan naloga. Njegova atmosfera je bogata i svečane, s više
mogućnosti za varijacije od drugih redova.
Razrađujući na improvizirano opaska kad Vitruvije činili porijekla svojih akantusova
kapitala, postalo je uobičajena za identifikaciju korintski stup s vitkim figura
je mlada djevojka, u ovom načinu rada classicizing francuski slikar Nicolas Poussin pisao
Korintski red - Wikipedia, slobodna enciklopedija 11/6/10 06:57
http://en.wikipedia.org/wiki/Corinthian_order Stranica 4 od 7

Model kapitala? iz
Tholos na Epidaurus
(Arheološki muzej
Epidaurus)
dorski ionske
prijatelj Fréart de Chantelou u 1642
Prekrasne djevojke koje ćete morati vidjeti u Nîmes neće, siguran sam, imaju
oduševio tvoj duh bilo manje od prekrasne kolone Maison Carrée za
jedan je ne više od starog kopiju drugih ". [4]
Sir William Chambers je izrazio konvencionalne usporedbi s dorski red:
Proporcije naloga od strane drevnih formira na one
ljudskog tijela, a time, to se ne može svoju namjeru da
Corithian stupac, koji, kao i Vitruvije primjećuje, jest da predstavljaju delikatnost
mlada djevojka, kao debela i mnogo jači nego dorski jedan, koji je dizajniran za
predstavljaju najveći i vigor mišićne pune odrastao čovjek. [5]
Povijest
Najstariji poznati primjer korintskih stupca je u hramu Apolona Epicurius na
Bassae u Arkadiji, oko 450-420 godine prije Krista. To nije dio reda hrama sama, koja je
dorski kolonade oko hrama i jonski red unutar cellom ograde.
jedan korintski stup stoji besplatno, centrirana u Cella. To je tajanstveni lik,
i arheolozi raspravu što to pokazuje: neki tvrde da je to jednostavno primjer
zavjetni stup. Nekoliko primjera korintskih stupova u Grčkoj tijekom sljedećih stoljeća
su svi koji se koriste unutar hrama. Više poznati primjer, a prvi dokumentirani korištenje
Korintski red na vanjskoj strukturi, kružna Choragic spomenik
Lysicrates u Ateni, podignut oko 334 godine prije Krista.
Korintski kapitala pažljivo pokopana u antici u
Temelji kružne Tholos na Epidaurus bio je
nadoknađeni tijekom moderne arheoloških kampanja. Svoje
zagonetna prisutnost i očuvanja su objasniti
kiparski model za kamenoklesarstvom slijediti [6] u podizanje
hram posvećen Asclepius, pripisana u antici na
Polykleitos Mlađi, je sin klasični grčki
kipar Polykleitos, Stariji. Hram je podignut u
4. st. pr. Ovi kapiteli, u jednoj od mostvisited
sveta mjesta u Grčkoj, pod utjecajem helenističke kasnije
i rimski dizajna za korintski red. Konkavan
strane Abacus susreću na oštar rub kobilice, lako
oštećene, koja je u kasnijim i post-renesansnog praksa uglavnom je bio zamijenjen
canted kutu. Iza svitke širenje cilindrični oblik središnje osovine
jasno vidljiv.
Mnogo kasnije, rimski pisac Vitruvije (oko 75 pne - 15 st. pne), u svezi da je
Korintski red je izumio Kalimah, grčki arhitekt i kipar, koji
je inspiriran očima zavjetni koš koji je ostavio na grobu mlade djevojke.
Nekoliko joj igračke su u njemu, te trg crijep je smješten preko koš, kako bi zaštitili
ih od vremenskih nepogoda. Akantusovim biljka je narasla preko tkani koš, miješajući svoje
bodljikav, duboko izrezati lišće s tkanjem u koš. Claude
Korintski red - Wikipedia, slobodna enciklopedija 11/6/10 06:57
http://en.wikipedia.org/wiki/Corinthian_order Stranica 5 od 7

Porijeklo
Korintski red, ilustrirana u Claude
Perrault je Vitruvije, 1684

Maison Carrée, Nîmes, Francuska, 14

Prije Krista
Pojednostavljeno korintski kapitala na
Cistercitskog samostana u Sacramenia,

Perrault ugrađen vinjete epitomizing Kalimah

Priča u svom ilustracija korintske nalog za njegovo
prijevod Vitruvije, objavljena u Parizu, 1684 (ilustracija,
lijevo). Perrault pokazuje u svom graviranje kako
proporcije rezbarenog kapitala može se podesiti prema
zahtjevima dizajna, bez vrijeđa. Tekstura i
pregled Perrault-a lišća je suh i široka u usporedbi s njihovim
19. stoljeća naturalizma na US Capitol (dolje lijevo).
Korintski kapital može se promatrati kao obogatio razvoj
jonski kapitala, iako se možda morati gledati usko na
Korintski kapitala (ilustracija, desno) da biste vidjeli jonski volutama
("Spiralama"), na uglovima, možda smanjen u veličini i
važnost, pomicanje gore dva reda stilizirane
akantusova lišća i stabljika ("cauliculi" ili caulicoles), osam u
sve, i da se primjetiti da manje volutama pomaknite prema unutra za susret
jedni druge na svakoj strani. Listovi mogu biti vrlo krut,
shematski i suho, ili oni svibanj biti pretjerano bušenih i
podrezati, naturalistički i šiljat. U kasne antike i
Bizantske prakse, lišće može biti otpuhan postrance, kao da je vjetar vjere. Za razliku od
dorski i jonski the stupac kapiteli, korintski kapitala nema vratu ispod njega, samo ringlike
astragal kalupljenje ili Kantovanje koja tvori bazu kapitala, podsjećajući na bazu
legendarni koš.
Većina zgrada (kao i većina klijenata) su zadovoljni s
samo dvije narudžbe. Kada su nalozi superpozicije jedna
iznad druge, kao što su oni na Flavijevaca
Amfiteatar-Colosseum-prirodnih
progresija od sturdiest i plainest (dorski) na
dno, da slenderest i najbogatije (korintski) na
vrhu. Colosseum je najviši rang ima
neobično da bi došao da bude poznat kao
Kompozitni bi tijekom 16. stoljeća. Sredinom
16. stoljeća Talijani, osobito Sebastiano Serlio
i Jacopo Barozzi da Vignola, koji su uspostavili
kanonski verzija naloga, misli su otkrili "Composite red", kombinirajući
volutama na jonski s krošnjama korintske, ali u praksi rimski volute su
gotovo uvijek prisutni.
U romaničkom i gotičkom arhitekturom, gdje je
Klasični sustav je zamijenjen novim
estetski sastavljena od lučnih svodova izvire iz
stupce, korintske kapitala još uvijek bio zadržan. To
može biti teško običan, kao u tipičnim cistercitskog
arhitektura (ilustracija lijevo), koja je potakla ne
distraction iz liturgije i asketski kontemplacije,
ili u drugim kontekstima moglo bi biti tretirane na brojnim
maštovite varijacije, čak i na glavnim niza
stupaca ili colonettes u istom sustavu.

Tijekom 16. stoljeća, niz gravura

naloga u arhitektonskom raspravama pomogao
standardizirati svoje podatke u krutim granicama.
Sebastiano Serlio, Cinque Regola delli ordini od
Giacomo Barozzi da Vignola (1507-1573), Quattro libri di Architettura od Andrea
Palladio, i Vincenzo Scamozzi's Idea della Architettura Universale, bili primijenjeni u
17. st. francuski rasprave s ugraviranim dalje profinjenim modelima, kao što su
Perrault je.