The Doric order is one of the three orders of ancient Greek and later Roman architecture; the other two canonical orders were the Ionic and the Corinthian . The Doric is most easily recognized by the simple circular capitals at the top of the columns . Originating in the western Doric region of Greece, it is the earliest and, in its essence, the simplest of the orders, though still with complex details in the entablature above.
35-591: The Storey , formerly the Storey Institute , is a multi-purpose building located at the corner of Meeting House Lane and Castle Hill in Lancaster , Lancashire , England. Its main part is recorded in the National Heritage List for England as a designated Grade II listed building , with its back entrance being listed separately, also at Grade II. The building was constructed between 1887 and 1891 as
70-462: A temple without a base. With a height only four to eight times their diameter, the columns were the most squat of all the classical orders; their vertical shafts were fluted with 20 parallel concave grooves , each rising to a sharp edge called an arris . They were topped by a smooth capital that flared from the column to meet a square abacus at the intersection with the horizontal beam ( architrave ) that they carried. The Parthenon has
105-460: A reading room, a library, a lecture room, a laboratory, a music room, a picture gallery, a school of art, and accommodation for a caretaker. The building cost about £12,000 (equivalent to £1,660,000 in 2023). In 1906–08 it was extended to commemorate the accession of Edward VII . This was designed by the successors in the architectural practice, Austin and Paley , to provide more rooms for teaching. Thomas Storey's son, Herbert , paid £10,000 towards
140-635: A replacement for the Lancaster Mechanic's Institute, to commemorate Queen Victoria 's Golden Jubilee . It was paid for by Thomas Storey, a local businessman who had been mayor in the year of the Jubilee, and was renamed the Storey Institute in his honour in 1891. Its purpose was "the promotion of art, science, literature, and technical instruction". The building was designed by the architects Paley, Austin and Paley whose office stood nearby. It contained
175-504: A strong entasis or swelling, and wider capitals. The Temple of the Delians is a " peripteral " Doric order temple, the largest of three dedicated to Apollo on the island of Delos . It was begun in 478 BC and never completely finished. During their period of independence from Athens, the Delians reassigned the temple to the island of Poros . It is "hexastyle", with six columns across the pedimented end and thirteen along each long face. All
210-489: A variety of curated group shows. In 1998 the walled gardens behind the institute were laid out as an art work, The Tasting Garden , by Mark Dion . In the early 21st century the institute was converted into a multi-use building by Lancaster City Council , and was renamed The Storey. It provided accommodation for small businesses, a café, galleries and exhibitions areas, workshops, and an information centre. The architects were Mason Gillibrand Architects of Caton. The building
245-539: Is constructed in sandstone ashlar with slate roofs, and is in Jacobean Revival style. It has façades on two fronts, with a turret on the corner. The turret is octagonal, with a lead dome surmounted by a spirelet. The building is in two storeys plus attics, above which are gables , some shaped and some segmental. Inside the building, on the first floor, is a curved window containing stained glass designed by Jowett of Shrigley and Hunt depicting representations of
280-497: Is illustrated at Vitruvian module . According to Vitruvius, the height of Doric columns is six or seven times the diameter at the base. This gives the Doric columns a shorter, thicker look than Ionic columns, which have 8:1 proportions. It is suggested that these proportions give the Doric columns a masculine appearance, whereas the more slender Ionic columns appear to represent a more feminine look. This sense of masculinity and femininity
315-523: Is in effect a simplified Doric, with un-fluted columns and a simpler entablature with no triglyphs or guttae. The Doric order was much used in Greek Revival architecture from the 18th century onwards; often earlier Greek versions were used, with wider columns and no bases to them. The ancient architect and architectural historian Vitruvius associates the Doric with masculine proportions (the Ionic representing
350-664: Is sometimes referred to as a half, or demi- , metope ( illustration, V. , in Spacing the Columns above ). The Roman architect Vitruvius , following contemporary practice, outlined in his treatise the procedure for laying out constructions based on a module, which he took to be one half a column's diameter, taken at the base. An illustration of Andrea Palladio 's Doric order, as it was laid out, with modules identified, by Isaac Ware, in The Four Books of Palladio's Architecture (London, 1738)
385-641: The Royal Hospital Chelsea (1682 onwards, by Christopher Wren ). The first engraved illustrations of the Greek Doric order dated to the mid-18th century. Its appearance in the new phase of Classicism brought with it new connotations of high-minded primitive simplicity, seriousness of purpose, noble sobriety. In Germany it suggested a contrast with the French, and in the United States republican virtues. In
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#1732858994502420-423: The architrave load at the last column. At the first temples the final triglyph was moved ( illustration, right: II. ), still terminating the sequence, but leaving a gap disturbing the regular order. Even worse, the last triglyph was not centered with the corresponding column. That "archaic" manner was not regarded as a harmonious design. The resulting problem is called the doric corner conflict . Another approach
455-400: The stylobate or platform on which the temple or other building stood. The capital was a simple circular form, with some mouldings, under a square cushion that is very wide in early versions, but later more restrained. Above a plain architrave , the complexity comes in the frieze , where the two features originally unique to the Doric, the triglyph and gutta , are skeuomorphic memories of
490-728: The 1960s there were touring exhibitions of works by Picasso , Matisse , and Francis Bacon . The art collection was moved in 1968 to Lancaster City Museum . By the 1980s the gallery was rarely used, but in 1991 a group of local artists re-established it as the Storey Gallery , and delivered a continuous programme of over 100 exhibitions of contemporary art until 2013. The exhibition programme included one-person shows by Andy Goldsworthy , Gillian Ayres , Basil Beattie , Michael Brennand-Wood, Simon Callery , Anthony Green , Albert Irvin , Michael Kenny , Sophie Ryder , and Richard Wilson , plus touring exhibitions from Japan, Spain, and Italy, and
525-636: The Doric design columns. It was most popular in the Archaic Period (750–480 BC) in mainland Greece, and also found in Magna Graecia (southern Italy), as in the three temples at Paestum . These are in the Archaic Doric, where the capitals spread wide from the column compared to later Classical forms, as exemplified in the Parthenon. Pronounced features of both Greek and Roman versions of the Doric order are
560-565: The Greeks were never as doctrinaire in the use of the Classical vocabulary as Renaissance theorists or Neoclassical architects. The detail, part of the basic vocabulary of trained architects from the later 18th century onwards, shows how the width of the metopes was flexible: here they bear the famous sculptures including the battle of Lapiths and Centaurs . In the Roman Doric version, the height of
595-512: The alternating triglyphs and metopes . The triglyphs are decoratively grooved with two vertical grooves ("tri-glyph") and represent the original wooden end-beams, which rest on the plain architrave that occupies the lower half of the entablature. Under each triglyph are peglike "stagons" or "guttae" (literally: drops) that appear as if they were hammered in from below to stabilize the post-and-beam ( trabeated ) construction. They also served to "organize" rainwater runoff from above. The spaces between
630-565: The architecture of Egypt . With the Greeks being present in Ancient Egypt as soon the 7th-century BC, it is possible that Greek traders were inspired by the structures they saw in what they would consider foreign land. Finally, another theory states that the inspiration for the Doric came from Mycenae. At the ruins of this civilization lies architecture very similar to the Doric order. It is also in Greece, which would make it very accessible. Some of
665-511: The arts. Also on this floor is a top-lit exhibition gallery. This consists of a portico in Roman Doric style with two columns supporting a triglyph frieze and a cornice . At its summit is a pediment decorated with dentils . It contains its original wrought iron gates and overthrow . The structure was moved from an 18th-century house that was demolished in 1921, and rebuilt on the present site. The entrance leads to walled gardens behind
700-484: The beams and retaining pegs of the wooden constructions that preceded stone Doric temples. In stone they are purely ornamental . The relatively uncommon Roman and Renaissance Doric retained these, and often introduced thin layers of moulding or further ornament, as well as often using plain columns. More often they used versions of the Tuscan order , elaborated for nationalistic reasons by Italian Renaissance writers, which
735-470: The capital. Roman Doric columns also have moldings at their bases and stand on low square pads or are even raised on plinths . In the Roman Doric mode, columns are not usually fluted; indeed, fluting is rare. Since the Romans did not insist on a triglyph covered corner, now both columns and triglyphs could be arranged equidistantly again and centered together. The architrave corner needed to be left "blank", which
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#1732858994502770-420: The columns are centered under a triglyph in the frieze , except for the corner columns. The plain, unfluted shafts on the columns stand directly on the platform (the stylobate ), without bases. The recessed "necking" in the nature of fluting at the top of the shafts and the wide cushionlike echinus may be interpreted as slightly self-conscious archaising features, for Delos is Apollo's ancient birthplace. However,
805-414: The corner conflict ( IV. ). Triglyphs could be arranged in a harmonic manner again, and the corner was terminated with a triglyph, though the final triglyph and column were often not centered. Roman aesthetics did not demand that a triglyph form the corner, and filled it with a half ( demi -) metope, allowing triglyphs centered over columns ( illustration, right, V. ). There are many theories as to
840-532: The cost of the extension, which almost doubled the size of the building. Over the years, the building has been housed the City Art Gallery, the public library, a girls’ grammar school, and from the 1950s to 1982, Lancaster College of Art. The opening art exhibition, held in 1889, included paintings by Gainsborough , Constable , and Canaletto . The art collection included paintings by local artists including Samuel John "Lamorna" Birch and William Hoggatt . In
875-459: The earliest examples of the Doric order come from the 7th-century BC. These examples include the Temple of Apollo at Corinth and the Temple of Zeus at Nemea . Other examples of the Doric order include the three 6th-century BC temples at Paestum in southern Italy, a region called Magna Graecia , which was settled by Greek colonists. Compared to later versions, the columns are much more massive, with
910-405: The entablature has been reduced. The endmost triglyph is centered over the column rather than occupying the corner of the architrave. The columns are slightly less robust in their proportions. Below their caps, an astragal molding encircles the column like a ring. Crown moldings soften transitions between frieze and cornice and emphasize the upper edge of the abacus , which is the upper part of
945-472: The feminine). It is also normally the cheapest of the orders to use. When the three orders are superposed , it is usual for the Doric to be at the bottom, with the Ionic and then the Corinthian above, and the Doric, as "strongest", is often used on the ground floor below another order in the storey above. In their original Greek version, Doric columns stood directly on the flat pavement (the stylobate ) of
980-510: The institute. Lancaster, Lancashire Too Many Requests If you report this error to the Wikimedia System Administrators, please include the details below. Request from 172.68.168.132 via cp1112 cp1112, Varnish XID 391355302 Upstream caches: cp1112 int Error: 429, Too Many Requests at Fri, 29 Nov 2024 05:43:14 GMT Doric order The Greek Doric column was fluted , and had no base, dropping straight into
1015-436: The original design probably came from wooden temples and the triglyphs were real heads of wooden beams, every column had to bear a beam which lay across the centre of the column. Triglyphs were arranged regularly; the last triglyph was centred upon the last column ( illustration, right: I. ). This was regarded as the ideal solution which had to be reached. Changing to stone cubes instead of wooden beams required full support of
1050-465: The origins of the Doric order in temples. The term Doric is believed to have originated from the Greek-speaking Dorian tribes. One belief is that the Doric order is the result of early wood prototypes of previous temples. With no hard proof and the sudden appearance of stone temples from one period after the other, this becomes mostly speculation. Another belief is that the Doric was inspired by
1085-461: The similar fluting at the base of the shafts might indicate an intention for the plain shafts to be capable of wrapping in drapery. A classic statement of the Greek Doric order is the Temple of Hephaestus in Athens, built about 447 BC. The contemporary Parthenon , the largest temple in classical Athens , is also in the Doric order, although the sculptural enrichment is more familiar in the Ionic order:
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1120-471: The triglyphs are the "metopes". They may be left plain, or they may be carved in low relief. The spacing of the triglyphs caused problems which took some time to resolve. A triglyph is centered above every column, with another (or sometimes two) between columns, though the Greeks felt that the corner triglyph should form the corner of the entablature, creating an inharmonious mismatch with the supporting column. The architecture followed rules of harmony. Since
1155-585: Was in the circular Tempietto by Donato Bramante (1502 or later), in the courtyard of San Pietro in Montorio , Rome. Before Greek Revival architecture grew, initially in England, in the 18th century, the Greek or elaborated Roman Doric order had not been very widely used, though "Tuscan" types of round capitals were always popular, especially in less formal buildings. It was sometimes used in military contexts, for example
1190-472: Was often used to determine which type of column would be used for a particular structure. Later periods reviving classical architecture used the Roman Doric until Neoclassical architecture arrived in the later 18th century. This followed the first good illustrations and measured descriptions of Greek Doric buildings. The most influential, and perhaps the earliest, use of the Doric in Renaissance architecture
1225-421: Was to apply a broader corner triglyph ( III. ) but was not really satisfying. Because the metopes are somewhat flexible in their proportions, the modular space between columns ("intercolumniation") can be adjusted by the architect. Often the last two columns were set slightly closer together ( corner contraction ), to give a subtle visual strengthening to the corners. That is called the "classic" solution of
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