No architecture is so haughty as that which is simple.

— John Ruskin

I found myself walking through lower Manhattan reflecting upon neo-classical architecture, specifically the different types of columns: Doric, Ionic, and Corinthian.

The famous Roman architect Vitruvius, the inspiration behind da Vinci's Vitruvian Man, is credited with naming the three main types of Roman columns and entablature (horizontal piece running across the tops of columns). The differences between them are ones of proportion, symbolism, and opulence.

Doric is the oldest and most spartan; it represents a man. (I use the word spartan in terms of being undecorated, not in terms of being from Sparta, which it wasn't.) The column notably has no base but has triglyphs and metopes. (A metope is the space between triglyphs.) This style is from the Greek mainland.

Ionic is far less solid than Doric, being based on the proportions of a mature woman. (The Greeks valued slenderness in their women, including small breasts and hips.) Also unlike Doric, it has a column base but no triglyphs. The volutes are the key flourish of note. (Volutes are the scrollwork patterns in the capital.) This style is from the eastern Aegean.

Corinthian is the latest and most stylizied; some might say opulent. It is based on the dimensions of a young maiden and is capped with a circular belle formed from rows of acanthus leaves and volutes. (Corinthian was very popular for neo-classical architecture, particularly in Washington, DC.) Acanthus is an ornamental plant with spiny leaves; the reason for its inclusion in the Corinthian style have to do with the legend of its origin.

9. It is related that the original discovery of this form of capital was as follows. A freeborn maiden of Corinth, just of marriageable age, was attacked by an illness and passed away. After her burial, her nurse, collecting a few little things which used to give the girl pleasure while she was alive, put them in a basket, carried it to the tomb, and laid it on top thereof, covering it with a roof-tile so that the things might last longer in the open air. This basket happened to be placed just above the root of an acanthus. The acanthus root, pressed down meanwhile though it was by the weight, when springtime came round put forth leaves and stalks in the middle, and the stalks, growing up along the sides of the basket, and pressed out by the corners of the tile through the compulsion of its weight, were forced to bend into volutes at the outer edges.

10. Just then Callimachus, whom the Athenians called katatêxitechnos for the refinement and delicacy of his artistic work, passed by this tomb and observed the basket with the tender young leaves growing round it. Delighted with the novel style and form, he built some columns after that pattern for the Corinthians, determined their symmetrical proportions, and established from that time forth the rules to be followed in finished works of the Corinthian order.

"The Origins of the Three Orders, and the Proportions of the Corinthian Capital" Vitruvius Pollio, The Ten Books on Architecture, Chapter I, Book IV

Greek architecture is the flowering of geometry.

— Ralph Waldo Emerson