Doric order
The Doric order is one of the five classical orders of columns. In the hierarchy of orders it is intermediate between the Tuscan and the Ionic order.
Historical development
The beginnings of the Doric order can be traced back to the 7th century BC in Greece. She was spread primarily on the Greek mainland and in Great Greece, but was also in the rest of Doric settlement area, in particular to meet Rhodes. The term Doric order goes to the Dorians, one of the Greek tribes, back, in their settlement area - large parts of the Peloponnese, Rhodes, Crete and parts of Asia Minor - the architectural style is primarily designed. At the same time the formation of concepts emphasized the contrast to the second major building code of the Greeks, the Ionian. In the course of the 6th century BC, the molding apparatus of the Doric order was developed to completion. This was characterized by strict, clearly structured architectural elements and forms. The Doric order peculiar rigor to the resignation originally present, ionic ' elements in the form of wave profiles and the like expressed, was founded already in Roman architecture theory with the structural needs of timber construction. Decorative end elements could easily be interpreted as nail heads, fascia boards and the like. With the appointment on design specifications of the traditional timber construction, they made sure the canon of forms, one kept the Doric order before a development that went beyond pure proportion changes. Proved are conditioned by the context and with the timber, however, only in the rarest of cases, and not for all structural members.
During their development, the Doric order has undergone a few changes, the canonical rules was only filed. The wood columns and very early stone buildings initially detected stone bases of quite slender columns disappeared, while the columns were penetrated at the same time immensely. The first non-fixed number of flutings of a column, which could vary between 16 and 20 was downright authentic limited to twenty. However, the fluting could also be completely abandoned or discontinued in favor of a pure faceting in the Hellenistic period. The swelling of the column shaft, the Entasis, originally dominant optical effect Doric columns, disappeared in the course of development altogether. The resultant from the monumentality of the architecture of the Doric frieze conflict was offset by a fixed repertoire of possible solutions. Great freedom had initially also in the design of the Doric Mutuli Geisons. Not only that there are solutions with alternating large and small gave Mutuli as the older Porostempel of Aphaia Aegina (Greece ) or Temple C at Selinunte. The number of guttae on the Mutulus plates that are used in 3 rows with 6 guttae were arranged later could vary in the early days of the Doric order with two-row varieties of different Guttaezahlen. This was true for the guttae the Regulae whose number was binding determined in the second half of the 6th century BC to six, but could be only four early in the century. As so often is the Doric order in bulk Greece also on geison once again be particularly keen to experiment dar. addition to the described canonical Geysa with Mutuli could also decorate cassette fields or rich sequences of wave profiles, Kymatien, the bottom of Geisons here until Hellenism into it.
Overall, the development followed a stretch of proportions. The once mighty compact columns under entablatures differed more and more slender aspiring models. The flattened, bulbous capitals stretched. The column height ratio to the lower column diameter shifted dramatically as well as the column height relative to beams. Everything was easier, the pillars distances were lights. As a result could from the late 4th century BC, the triglyph whose triglyphs always on a column axis and a column space, the intercolumnium, were to be re- rhythm by now two triglyphs were housed on a intercolumnium. As a consequence, now sat against all former habit of a metope in the middle of Interkolumniums. However, this kind of phenomena were small and Hall architectures that Propyla and similar restricted, in the old temple Triglyphon remained authentic. With the streamlining of the proportions of the popularity of the Doric order that was increasingly to be found in Asia Minor and in Ptolemaic Egypt grew. At the same time increasingly penetrated ionic elements in the design of " Doric " architectures. So Doric columns could be provided with ionic bases in Cyrenaica. More common is the insertion of the dental section in the Doric entablature, such as the Gymnasium in Kos. The enrichment of the Doric order also included the triglyphs, which were worked as vortretende reliefs with three feet, offering bowls or the like instead of the slots, such as on the little Propylaea at Eleusis or on a workpiece on Samos, there crowned addition of a dominant ionic egg and dart.
The Roman architecture remained the pure Doric order, however strange, though individual elements such as the Triglyphon have been included in the Italic and Roman architecture.
- Doric capital from the Heraion in Olympia
- Remains of a temple in Taranto
- Temple of Hera in Metaponto
- Triglyphs, metopes and Mutuli from Temple C at Selinunte
Structure of the Doric order
Base
Foundation and base of a building in Doric order consist of the Stereobat (foundation ) and the Krepis ( base levels ). The foundation stored mainly in the soil and is only on the smoothed and semi- exposed top layer of euthynteria visible. The foundation follows the Krepis with its three stages. The top level is called stylobate and serves as a base for the emerging pillars.
Column
The Doric column stands with its shaft directly on the stylobate. In contrast to the Ionic and Corinthian column, it does not need a base.
The pillar is tapered upwardly in a more or less sweeping swelling called entasis, but never exceeds the diameter of the column to the lower projection. The columns are usually equipped with 20 vertical flat circular depressions, the fluting, the encounter with a sharp ridge together. In the early days also columns with 16 to 18 flutings were entirely familiar. At the upper end of the column shaft designate up to three horizontal notches the transition to column neck, the Hypotrachelion.
The column neck is usually is the working capital. It consists of the lower part, the echinus, which is a bead spreading, increasingly formed at an early period from the 4th century BC as a truncated cone, and the square cover plate, the abacus. At the transition from neck to column capitals by, while three rings that Anuli that settle the capital of the column shaft visible. In the early days, at the beginning of the 6th century BC, the Kapitellansätze had also leaf ornate rings made of bronze or stone, to soften the abrupt transition from column shaft to Echinus.
Entablature
The entablature is essentially divided into two architrave, also called epistyle, from smooth stone beams and a frieze of triglyphs and metopes decorated with. In follow cornices and Sima, which initiate the transition to the roof.
The capitals weigh heavy architrave that spans the yoke, the distance between the columns axes span, and bear the overlying structural members. The top section of the architrave forms a narrow strip, the Taenia, follow on the underside of a regular, based on the following Fries short strips that Regulae. Six cubic or cylindrical pins guttae, like interpreted as nail heads adorn the underside of a Regula. On the architrave of the Doric frieze follows, which is also called triglyph or Triglyphon. It consists of a uniform series of triglyphs and metopes. While the triglyphs always equal to consist of a flat plate with two full and two half vertical indentations on the sides, inserted between the triglyphs, metopes could have been either designed with a smooth and painted or serve as carriers of relief decoration. The arrangement of the Triglyphenfrieses refers generally to the column spacing, so that was arranged above each column and each intercolumnium, the clearance of two columns, triglyphs. The hereby given rhythm carries over to other elements of the building such as those mentioned Regulae and ornamental plates of Geisons.
On the triglyph the roof that protrudes with the horizontally extending geison far beyond the underlying architectural elements follows. At the bottom of Geisons hang Mutuli, flat plates having three times each six guttae. Again, dominates the structure of the Doric order: Each triglyphs and metopes, each is assigned a Mutulus. Compared to the Regulae, the sequence of repetitive elements has doubled. Each two Mutuli are separated by a recess, the so-called Via. The pediment of the faces is framed by horizontal cornices and the rising Schräggeisa that the reset and elaborate buildings equipped with decorative figures tympanum tympanum border. Sima, the Traufleiste Greek roof is domed outwardly and is located both on the long sides as well as the Geison the Schräggeisa the gable sides. It can be decorated with tendrils Friesen, Anthemien or geometrical ornaments. On the long sides of the Sima is interrupted by openings, so that the rain water to drain off the roof. Were these openings initially only simple tubes, as they were later often divided by lions' heads as water spouts. Ideally, the gargoyles took the whole building from the bottom up by pulling vertical layout one last time. The final ridge, but especially the gable corners usually wore figurative, vegetable or ornamental jewelry that acroteria.
Doric columns of Athena temple in Paestum, Italy
Geisonblock with Mutulusplatten from the temple in Lykosoura
The Doric corner conflict
The Doric corner conflict arises from the conflict between two principles of order Triglyphenfrieses. On the one hand, the sequence of triglyph should correspond to the sequence of the columns. Ideally, as each column axis and each was assigned a intercolumnium triglyph. On the other hand the edges of the Triglyphenfrieses should conclude with a Ecktriglyphe. These two principles of order, however, were only compatible if architrave, triglyphs and column had approximately the same dimensions. In the initial construction of the temple in Doric order were both organizing principles - probably using a wooden structure - are respected without conflict.
However, with the advent of stone temple architecture took to the width of the architrave and hence the supporting pillars. Under the proviso to place the triglyphs on the column axis, this would have the consequence that the Ecktriglyphe would be a piece slipped off the edge towards the middle of the temple (Fig. V). However, the ancient Greeks had the idea not to decorate the frieze border with triglyphs, very contrary. Moving the columns outward and thus to let protrude over the architraves (Fig. I), was eliminated structural reasons as well. This revealed that the distance between the Ecktriglyphe and the following triglyph was larger than the other Triglyphenabstände of the frieze.
This problem of non-harmonic order of the Triglyphenfrieses solved the Greek builders in different ways. The simplest solution was to let the distance thus created between the first two triglyphs exist and thus to accept broader metopes at the edges of Triglyphenfrieses (Fig. II). Another approach has been to broaden the Ecktriglyphen such that all the metopes of the frieze had the same dimensions (Fig. III). The most common approach, which nachkam the desire of a harmonious rhythm of triglyphs and metopes in the frieze, based on the fact, to shorten the distance between the two outer columns (Fig. IV). This solution is referred to as the Doric Eckkonfliktes Eckkontraktion. It was partially the Eckkontraktion to not to let them to appear dominant over two Säulenjoche distributed ( "double Eckkontraktion " ), but had broader metopes on the edges of the effect.
The different approaches have been favored differently in the original distribution area of the Doric order. So you preferred the Greek mainland the Eckkontraktion, Great Greece used to many different solutions: broadening the Eckmetopen or Ecktriglyphen, changes in distance between columns and metopes. Part of different solutions arrived at the front and long sides simultaneously used.