Tempietto di San Pietro in Montorio, Rome, 1502, by Bramante. This small temple marks the place where St Peter was put to death
Illustrations of the Classical orders (from left to right): Tuscan, Doric, Ionic, Corinthian and Composite, made in 1728, from Cyclopædia
Temple of Vesta, Rome, 205 AD. As one of the most important temples of Ancient Rome, it became the model for Bramante's Tempietto
An illustration of the Five Architectural Orders engraved for the Encyclopédie, vol. 18, showing the Tuscan and Doric orders (top row); two versions of the Ionic order (center row); Corinthian and Composite orders (bottom row)
Palladio's engraving of Bramante's Tempietto
Greek orders with full height
Plan of Bramante's Tempietto in Montorio
Doric capital of the Parthenon from Athens
The Piazza del Campidoglio
Ionic capital from the Queen Elizabeth II Great Court of the British Museum (London)
The Romanesque Florence Baptistery was the object of Brunelleschi's studies of perspective
Corinthian capital of a column from the portico of the Pantheon from Rome
Pope Sixtus IV, 1477, builder of the Sistine Chapel. Fresco by Melozzo da Forlì in the Vatican Palace.
Tuscan capital and entablature, illustration from the 18th century
Four Humanist philosophers under the patronage of the Medici: Marsilio Ficino, Cristoforo Landino, Angelo Poliziano and Demetrius Chalcondyles. Fresco by Domenico Ghirlandaio.
Composite capital in the former Palace of Justice (Budapest, Hungary)
Cosimo de' Medici the Elder, head of the Medici Bank, sponsored civic building programs. Posthumous portrait by Pontormo.
The Tower of The Five Orders at the Bodleian Library at the University of Oxford, completed in 1619, includes Tuscan through Composite orders.
The Church of the Certosa di Pavia, Lombardy
The St-Gervais-et-St-Protais Church in Paris presents columns of the three orders : Doric at the ground floor, Ionic at the second floor, Corinthian at the third floor
Scuola Grande di San Marco, Venice
Corn capital at the Litchfield Villa Prospect Park (Brooklyn) (A.J. Davis, architect)
Raphael's unused plan for St. Peter's Basilica
An illustration of the Five Architectural Orders engraved for the Encyclopédie, vol. 18, showing the Tuscan and Doric orders (top row); two versions of the Ionic order (center row); Corinthian and Composite orders (bottom row)
Facade of Sant'Agostino, Rome, built in 1483 by Giacomo di Pietrasanta
Classical Orders, engraving from the Encyclopédie vol. 18. 18th century.
The Dome of St Peter's Basilica, Rome.
Courtyard of Palazzo Strozzi, Florence
Ospedale degli Innocenti in Florence.
The dome of Florence Cathedral (the Basilica di Santa Maria del Fiore)
The church of San Lorenzo
Palazzo Medici Riccardi by Michelozzo. Florence, 1444
Basilica of Sant'Andrea, Mantua, the façade
Façade of Santa Maria Novella, 1456–70
The crossing of Santa Maria della Grazie, Milan (1490)
picture above
The Palazzo Farnese, Rome (1534–1545). Designed by Sangallo and Michelangelo.
Palazzo Pandolfini, Florence, by Raphael
Palazzo Massimo alle Colonne.
Palazzo Te, Mantua
St Peter's Basilica
The vestibule of the Laurentian Library
Il Gesù, designed by Giacomo della Porta.
Villa Capra "La Rotonda"
Keystone with a profile of a man, Palazzo Giusti, Verona, Italy
The House of the Blackheads in Riga, Latvia
Royal Summer Palace in Prague is considered the purest Renaissance architecture outside of Italy.
Cathedral of St James, Šibenik
English Renaissance: Hardwick Hall (1590–1597).
French Renaissance: Château de Chambord (1519–39)
Juleum in Helmstedt, Germany (example of Weser Renaissance)
Antwerp City Hall (finished in 1564)
Courtyard of Wawel Castle exemplifies first period of Polish Renaissance
Cloister of the Convent of Christ, Tomar, Portugal, (1557–1591), Diogo de Torralva and Filippo Terzi.
The Palace of Facets on the Cathedral Square of the Moscow Kremlin.
Nordic Renaissance: Frederiksborg Palace (1602–20)
The Escorial (1563–1584), Madrid
Cathedral Basilica of Salvador built between 1657 and 1746, a UNESCO WHS.
The large Basilica of San Francisco in Quito, built between 1535 and 1650, a UNESCO World Heritage Site city.

The Classical orders were analysed and reconstructed to serve new purposes.

- Renaissance architecture

The Giant order was invented by architects in the Renaissance.

- Classical order
Tempietto di San Pietro in Montorio, Rome, 1502, by Bramante. This small temple marks the place where St Peter was put to death

3 related topics

Alpha

The Doric order of the Parthenon. Triglyphs marked "a", metopes "b", guttae "c" and mutules under the soffit "d".

Doric order

The Doric order of the Parthenon. Triglyphs marked "a", metopes "b", guttae "c" and mutules under the soffit "d".
Two early Archaic Doric order Greek temples at Paestum (Italy) with much wider capitals than later
Entry to the Bibliothèque Mazarine (Paris), with four Doric columns in this photo.
Temple of the Delians, Delos; 19th-century pen-and-wash drawing
The Doric corner conflict
The Roman Doric order from the Theater of Marcellus: triglyphs centered over the end column
The Grange (nearby Northington, England), 1804, Europe's first house designed with all external detail of a Greek temple
Original Doric polychromy
Upper parts, labelled
Three Greek Doric columns
The Five Orders, originally illustrated by Giacomo Barozzi da Vignola, 1640
thumb|The ruins of the Temple of Poseidon from Sounion (Greece), 444–440 BC
Exterior of the Great Tomb of Lefkadia, circa 300 BC <ref>{{cite book |last1=Fullerton|first1=Mark D.|title=Art & Archaeology of The Roman World|date=2020|publisher=Thames & Hudson|isbn=978-0-500-051931|page=87|language=en}}</ref>
Capital on the Parthenon from Athens
Venus Temple at Hadrian's Villa in Tivoli (Italy), detail from the roof
Fragment of an Ancient Roman Doric frieze in Palestrina (Italy)
Temple of Athena, Assos in Turkey
Renaissance marble altar enframement, circa 1530–1550, in the Metropolitan Museum of Art (New York City)
Engraving of a Doric entablature from Speculum Romanae Magnificentiae, 1536, in the Metropolitan Museum of Art
Engraving of a Doric capital from Speculum Romanae Magnificentiae, circa 1537, in the Metropolitan Museum of Art
The monumental fireplace in the ballroom of the Palace of Fontainebleau (France), with a Doric frieze on it
Door between a pair of Doric pilasters, in Montpellier (France)
Door between a pair of Doric pilasters, in Enkhuizen (the Netherlands)
Capital of a Doric pilaster from Lviv (Ukraine)
Die Sünde, by Franz Stuck, from 1893, in a frame with a pair of engaged Doric columns
Interior of the Metropolitan Museum of Art with Doric columns
The entrance of La Sorbonne from Paris, with a pair of Doric columns and an entablature with triglyphs and empty metopes

The Doric order was one of the three orders of ancient Greek and later Roman architecture; the other two canonical orders were the Ionic and the Corinthian.

The most influential, and perhaps the earliest, use of the Doric in Renaissance architecture was in the circular Tempietto by Donato Bramante (1502 or later), in the courtyard of San Pietro in Montorio, Rome.

Entablatures at Caesarea Maritima

Entablature

Superstructure of moldings and bands which lies horizontally above columns, resting on their capitals.

Superstructure of moldings and bands which lies horizontally above columns, resting on their capitals.

Entablatures at Caesarea Maritima
Entablature at the Temple of Venus Genetrix, Rome
Entablature of the Doric order
Entablature of the Ionic order
Entablature of the Corinthian order

The structure of an entablature varies with the orders of architecture.

In Roman and Renaissance interpretations, it is usually approximately a quarter of the height of the column.

Portrait of Dante Alighieri by Cristofano dell'Altissimo, Uffizi Gallery Florence

Italian Renaissance

Period in Italian history covering the 15th and 16th centuries.

Period in Italian history covering the 15th and 16th centuries.

Portrait of Dante Alighieri by Cristofano dell'Altissimo, Uffizi Gallery Florence
Pandolfo Malatesta (1417–1468), lord of Rimini, by Piero della Francesca. Malatesta was a capable condottiere, following the tradition of his family. He was hired by the Venetians to fight against the Turks (unsuccessfully) in 1465, and was the patron of Leone Battista Alberti, whose Tempio Malatestiano at Rimini is one of the first entirely classical buildings of the Renaissance.
Portrait of Cosimo de' Medici by Jacopo Pontormo
Leonardo da Vinci, Italian Renaissance Man
Giulio Clovio, Adoration of the Magi and Solomon Adored by the Queen of Sheba from the Farnese Hours, 1546
Niccolò Machiavelli (1469–1527), the author of The Prince and prototypical Renaissance man. Detail from a portrait by Santi di Tito.
Petrarch, from the Cycle of Famous Men and Women. ca. 1450. Detached fresco. 247 x. Galleria degli Uffizi, Florence, Italy. Artist: Andrea di Bartolo di Bargilla (ca. 1423–1457).
Detail of The Last Judgment, 1536–1541, by Michelangelo
David by Donatello
Bramante's Tempietto in San Pietro in Montorio, Rome, 1502
Claudio Monteverdi by Bernardo Strozzi

The Italian Renaissance has a reputation for its achievements in painting, architecture, sculpture, literature, music, philosophy, science, technology, and exploration.

Here the pilasters follow the superposition of classical orders, with Doric capitals on the ground floor, Ionic capitals on the piano nobile and Corinthian capitals on the uppermost floor.